Our First Impressions of Nasty C’s ‘I Love It Here’

Posted on by The Native

With over a decade of experience in the game, Nasty C still stands as one of South Africa’s most visible rap stars. After introducing his music with mixtapes and an extended play circa 2012-2015, the artist got his breakthrough with 2016’s “Hell Naw,” winning hearts across Africa with his immaculate emceeing skills and ear for great production. With ‘Bad Hair’ (2016) and ‘Strings and Blings’ (2018), Nasty C was championing the wave of African rap, imprinting his brand of both vulnerable-plus-braggadocious music.

In 2020, Nasty C inched towards international fame after signing a deal with  Def Jam Records. That year, he released ‘Zulu Man With Some Power,’ with appearances from the likes of T.I, Ari Lennox and Lil Keed. His freestyles on international platforms—Fire in the Booth, BBC Radio 1Xtra and On The Radar Radio—have also complemented his efforts and raised his profile as a wordsmith. Last year, he announced his partnership with Carry1st to launch the video game Call of Duty across South Africa. On his IVYSON GAMING page on YouTube, he connects directly with fans who share his love for music and gaming.

Earlier this year, Nasty C and fellow South African artist Cassper Nyovest announced their African Throne Tour, which runs from August 18 to October 28, starting in Arusha, Tanzania and ending in Johannesburg, South Africa. Nasty C also revealed his new status as a father. It’s all these changes and achievements that feed into Nasty C’s fourth studio album ‘I Love It Here’. The project features appearances from Ami Faku, Benny the Butcher, Manana, Tellaman, Anica, Maglera Doe Boy and 25K.

The NATIVE editorial team dives into the album, and in true fashion, we give our honest thoughts on the Nasty C’s latest body of work, from best song to stand out production, biggest potential hit, biggest skip and more.

 

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BEST SONG

Nwanneamaka: I may be cheating by choosing “This Time” as my favourite song and favourite verse but for the sake of doing justice to my palette, this is the only right answer. One of my all time favourites from Nasty C is his Rowlene-assisted “SMA” and I think this reminds me a lot of that. Ami Faku brings out a softer, more emotional side to Nasty C which keys perfectly into the project’s themes, still allowing his gleaming braggadocio shine through. Other than an effortless vocal pairing, the production by Lekka Beats knocks the track up several notches with its trumpet shouts, steady bass pattern and light shakers. Simple formula but works really well. 

Dimeji: “Prosper In Peace” easily takes the top spot for me. I love the melodies, I’m a big fan of calmer, sing-song  rap and Nasty C definitely delivered that. The message also stood out to me, he’s just trying to grow and people won’t let him do that. Bonus points for the feature from Benny The Butcher, his verse definitely tied the track together.

 

FAVOURITE PRODUCTION

Chigoziri:  “Prosper in Peace” by Nasty C featuring Benny the Butcher is an exceptional collaboration. The production is top-notch, with captivating beats and impressive lyrical delivery from both artists. It’s a track that seamlessly blends their talents and leaves a lasting impact. 

Emmanuel: Rap was the focus on this album and you can hear it clearly. It’s the least Nasty C has flirted with pop sonics on a project and the result is a drum-heavy, boom pap sonic atmosphere. As a rap head, I respect the choice very much and I had a lot of favourites. “Release Me” and “Broken Marriages” are quintessential spaz-out beats, spurring ridiculous faces as Nasty flows through them. “Sunset Walks” with Tellaman also sounds like the title; laidback but possessing its own unique energy, which we can really say for a lot of the production here. Nasty has always had a great ear for beats. 

Alex: I think the tracks of this project were properly and meticulously produced. It’s quite hard to choose a favorite, however, I think the production of “Crazy Crazy” was crafted beautifully. The piano sounds, the drums, and the vocals were in perfect harmony. “Crazy Crazy” has this soothing effect that I didn’t seem to experience in other tracks.

 

BIGGEST POTENTIAL HIT

Moore: “Broken Marriages” definitely has potential to be a huge hit. On the surface, the song already has an infectious rhythm that makes listeners play it on repeat. Taking time to listen to the lyrics then adds another layer to the track, as it alludes to the pain that comes from growing up in a broken home, something many can relate to.

Dennis: “This Time.” Easiest answer TBH. The vibes are very “SMA”  as Nwanneamaka mentioned above, which went on to become a huge hit. It’s not that he’s repeating the same trick, it’s that Nasty C knows how to make emotive slaps with featured singers. (Also, those pair of Manana features are bonkers.)

 

BEST VERSE

Nwanneamaka: HUGE Ami Faku fan so it was only right that my favourite verse “This Time.” The synergy between the pair is almost magical as their tones differ yet manage to complement each other perfectly. Ami Faku  smoothly glides between English and an SA language I can’t quite place but still resonates with the track’s themes beautifully. Her verse is very soothing and reassuring as she softly croons, “I still need you, I won’t let you down. I won’t miss this time.” And you know what? I believe her. 

Dimeji: In light of a lot recent developments, the first verse of “Fuck That” really spoke to me. Nasty C raps about giving him his flowers while he is still here, and I see it as an oath to all the people we’ve lost recently, especially in the industry because so much has been happening.

 

BIGGEST SKIP

Moore: While I wouldn’t be in a hurry to skip any track on this project, I’d have to say “She’s Gone & The End” is the one I’d likely skip past. Its slow beginning goes on for a bit too long, and even after the song begins to pick up in energy it’s never quite as engaging as most of the other songs on this project.

Dennis: I have an agenda against “Crazy Crazy” because I didn’t like it when I first heard it as a single. It sounds better within the flow of this album but it just gnaws at me that what I think should ideally be a deep cut was chosen as a single. That said, I can’t pick a skip within the flow of the project. That’s more than I can say for his last album, which I thought was really, really good.

 

STANDOUT FEATURE

Uzoma: I’d have to settle for both Ami Faku and Maglera Doe Boy. Over the drum-heavy “This Time,” Ami Faku’s vocals provide a different vibe; her singing is smooth and relaxing, complementing Nasty C’s raps. On “Kill The Noise,” Maglera Doe Boy does vocal twists and turns with the verse, alternating between singing and rapping. His verse is the fitting outro for the song—as the message he passes across washes over you.

Chigoziri: The relaxing essence of “Kill the Noise” is truly a beautiful masterpiece to sink into. Anico’s soothing voice and Maglera Doe Boy’s ability to perfectly switch from singing to rapping while delivering his message sits just right on the track. They all complement each other so effortlessly as they showcase their undeniable talent. While listening to it, it really feels like you’re killing the noise around and taking in the message of the lyrics.

 

OVERALL FIRST IMPRESSION

Alex: Nasty C has been consistent in his crafts, delivering excellent records that resonate with his audience in an intimate realm. ‘I Love It Here’ is proof of his unwavering talent that’s unextinguishable. His bag of talent never runs dry. With this project, Nasty C attests to many things: he cares for the listening experience of his fans, he cares about diversity of sounds which he shows by his choice of features, and he cares about his status as a continental rapper, and hitmaker which he consolidates with this project. ‘I Love It Here’ is Nasty C’s best works yet, and he is not resting anytime soon. 

Dennis: I don’t think many people are going to call ‘I Love It Here’ Nasty C’s opus – that honour still belongs to ‘Strings & Blings’. What this album is, is a show of evolution from an artist who’s grown up in public but has kept some details private. Those moments of vulnerability make the boastful ones a lot more than specialty fare, because by now it’s impossible to know that Nasty C is great at project invincibility. The veneer hasn’t worn out, it’s just been polished to show a different glint when the sun’s out.

Daniel B: I believe ‘I Love It Here’ represents some of Nasty C’s finest work to date. It’s a meticulously crafted masterpiece, and the entire listening journey was thoroughly enjoyable. What struck me most was Nasty C’s strategic use of featured artists, as opposed to the common trend of scattering them haphazardly throughout the album. In particular, the collaboration with Benny the Butcher stood out as my personal favourite, a seamless fusion of two distinct rap styles. I’m confident that this project will receive a warm reception, solidifying Nasty C’s status as a formidable presence not only in African music but also on the global stage.

Listen to ‘I Love It Here’ here.

ICYMI: OUR FIRST IMPRESSIONS OF BURNA BOY’S ‘I TOLD THEM…’

Review: Burna Boy’s ‘I Told Them…’

In the pantheon of contemporary Nigerian music, Burna Boy is a name associated with the biggest feats: sold-out concerts and tours, chart-topping singles and albums, dozens of awards nominations and millions of followers worldwide across Africa, Europe and the Carribean. It’s a position the Port Harcourt-born man has always dreamed of. “No be say I wan blow with one track/And my music fade away/And I no fit come back/I dey try to win a Grammy to say I don die,” he sings in “Yawa Dey,” the 2013 single that preceded his debut album ‘L.I.F.E – Leaving an Impact for Eternity,’  released in that same year. Six albums and one Grammy win later, Burna Boy’s music reverberates across the world, leading the way for Nigeria’s march on the globe.

 

Since grabbing the spotlight (aided by his track “Ye” from 2018’s ‘Outside’ being mistaken for Kanye West’s album ‘Ye’), Burna Boy has marshalled his rise to the pinnacle of success with consistent quality releases and equally excellent live performances. The 2019 run-up to his album ‘African Giant’ was the stuff of dreams, with “Gbona,” “On the Low,” “Killin Dem” with Zlatan, “Dangote” and “Anybody” heightening up the excitement for the project. He opened up about the ideological and sociopolitical leanings of the album on international radio and television platforms such as The Daily Show with Trevor Noah, Ebro in the Morning on Hot 97, Power 105.1 FM’s The Breakfast Club and The Big Boy’s Neighborhood. It all culminated in his first Grammy nomination for Best World Music Album, which he lost to Angélique Kidjo’s ‘Celia.’

Burna Boy’s next album, ‘Twice as Tall’, eventually won him the Grammy plaque and he’s been on an upward trajectory. On his newest album ‘I Told Them…,’ Burna Boy has a new motive: announcing to his doubters that he’s achieved everything they didn’t believe he would. It seems a petty incentive because why would an artist conquering the world with his music and shutting down more-than-fifty-thousand-people-carrying venues care about the cold shoulders of naysayers? But so is the mind of a creator, constantly motivated by their experiences. In the case of Burna Boy, he’s always felt like he has a point to prove. After losing out to Sean Tizzle in the Next Rated category in the 2013 Headies and walking out of the event, Burna Boy has carried the reputation of an outcast, presumably undermined by his people and honoured by outsiders. His off-music actions have also drawn the ire of the public, calling into question his pan-African and humanist branding.

“Is this the motherfucking thanks I get/For making my people proud every chance I get?” he fires on the J. Cole-featuring “Thanks.” Those words shine a light on Burna Boy’s grievances. He’s a man who has come a long way and gathered so many wins but he’s still unsatisfied with the reception from his home supporters, those who, in fact, have followed his journey since the 2011 mixtape ‘Burn Identity.’ “You say my mama dance for Fela/You say I no get baby mama/You say that I’m cancelled again/You say I shoot pesin for Cubana/Because I wan collect pesin woman,” he goes on again on “Thanks.” It was at the Lagos leg of his Love, Damini tour that Burna Boy first spoke directly to Nigerians about the reasons for his annoyance. “No wahala. I still love you, na why I dey here. So if you like, no love me, na God go punish you,” he was recorded saying. On ‘I Told Them…’, Burna Boy raves at Nigerians but to the hearing of foreigners.

As Burna Boy’s profile has grown, so has his artistic evolution. ‘Outside’, with its pointed forage into the UK sounds of Afroswing and road rap, was the beginning of Burna Boy’s transformation into a global act. With the backing of major labels Bad Habit and Atlantic, Burna Boy refreshed his dynamic offering of Afrobeats, Dancehall and Reggae. ‘African Giant’ was the tipping point where years of consistency and quality met to serve up a swaggering superstar. On ‘Twice as Tall,’  with the endorsement of American music mogul and co-executive producer Diddy, Burna Boy ingrained himself into the fabric of the American music space, unarguably the biggest in the world. On ‘I Told Them…’, Burna Boy is returning to a time when he first fell in love with rap and American pop culture with the appearances and influences of GZA and RZA of the Wu-Tang Clan spread throughout the album.

 

GZA suffixes album opener “I Told Them” with a spoken word rendition highlighting his and Burna Boy’s elevation above the ordinary. “I’m in a place where perception is developed/If you can’t walk on these shoes, then your feet would swell up,” GZA says. There are also kung-fu samples (a staple of Wu-Tang Clan’s music) interacting with the rest of the tracks. There are also the Islamic teachings adopted by the Wu-Tang Clan where on “12 Jewels,” RZA educates Burna Boy, saying, “The twelve jewels are basically the twelve important things/That a man should inspire for/That’s the best acquisition you can have, right/And it’s simple/Knowledge, wisdom, understanding/Freedom, justice, equality/Food, clothing, shelter/Love, peace and happiness.” On closer inspection, ‘I Told Them…’ is Burna Boy’s tale of seeking self and spiritual purity and finding a balance while luxuriating in the physical pleasures.

Nowhere is the album’s focal point more encapsulated than on “If I’m Lying,” a soaring track of guitar and piano. Burna Boy flits in and out, emotion-laden, singing and humming, about riding the waves of life. “Every day, I just dey give thanks for life/Know how to move ‘cause I know sacrifice/Lose control, still hold on tight/Won’t be the only time,” he sings. The song—most especially the chorus—is one of Burna Boy’s best works. “If I’m Lying” is also similar to the last run of ‘Love, Damini’, where the songs “Wild Dreams,” (with Khalid), “How Bad Could It Be” and “Love, Damini” (with Ladysmith Black Mambazo) peeled back the layers of the superstar figure to reveal his vulnerabilities. There aren’t many vulnerable moments in ‘I Told Them…’ but a whole lot of happiness and braggadocio to reflect the survival of the harsh times.

On “Normal,” Burna Boy announces that he’s operating at a higher level than he was in the past: “People dey doubt, sey e sure for me ké?/Rich nigga before I sign to label.” On “On Form” and the Brandy-sampling “Sittin’ On Top Of The World” with 21 Savage, he reiterates his dominance, singing on the latter, “In an eleven room mansion/Pure like water wey dey for nylon/I pull up in my high fashion, every light flashing.” If the message wasn’t clear enough, on “Big 7,” where he pays homage to close associates Virgil Abloh and Sidhu Moose Wala, Burna Boy pulls up the receipts about his global reach—“Wavy since London,” “Wavy since Berlin,” “Wavy since Sweden,” “Wavy since Paris,” and then he informs listeners: “I’m in a different place.”

 

While ‘I Told Them…’ is Burna Boy’s gospel, his guests contribute greatly to its structure. GZA and RZA infuse their Wu-Tang Clan characteristics into the project, fulfilling Burna Boy’s teenage dreams. UK rapper Dave, with whom Burna Boy scored a classic hit on “Location,” wields his usual deft pen on the Kwabs-sampling “Cheat On Me,” with both he and Burna Boy determined never to shortchange themselves. 21 Savage furthers the big-boy talk on “Sittin’ On Top Of The World” with swagger. Seyi Vibez steals the show on “Giza,” with his memorable one-liners and the inescapable magic of his favoured producer Modra. J. Cole’s sure hand is a beautiful addition to “Thanks,” with clever songwriting and expert delivery. Byron Messia’s gangster energy complements Burna Boy’s on “Talibans II,” with both artists feeding off each other’s vibes. The collaborations are signposts to Burna Boy’s skills as a curator to select the right talents and contributors to his story.

Three days before the release of ‘I Told Them…,’ Burna Boy’s interview with Zane Lowe (hosted by Apple Music) premiered. The conversation took place at Rock and Soul, a famed DJ equipment and record store in New York City. Burna Boy and Lowe spoke about the album, his admiration for New York and its rappers, and his philosophies. A part of that conversation caught the attention of the Nigerian audience when Burna Boy touched on Afrobeats, saying, “90% of them, have almost no real-life experiences that they can understand, which is why you hear most of Nigerian music, or I’ll say African… I don’t even know what to say, Afrobeats, as people call it, it’s mostly about nothing, literally nothing. There’s no substance to it.” That comment caught Burna Boy some heat—and rightfully so. 

Burna Boy has relentlessly called his style of music Afrofusion, as he blends R&B, Hip-Hop, Afrobeats, Dancehall and more into a sound that’s uniquely his. While Burna Boy isn’t the only Nigerian act branding themselves by ‘owning’ a sound—see Rema’s Afro Rave—there’s stylistically not much difference between what he does and what the likes of The Remedies or D’banj did in the early 2000s. In the history of contemporary Nigerian music, artists have always borrowed elements from genres and painted them with ‘Nigerianness.’ What many found concerning about Burna Boy’s comments was that he, as a leading figure in the music scene, was perpetuating a damaging narrative to a foreign market, when there’s 2Baba’s romantic and sociopolitical detailing on ‘Face 2 Face’ and ‘Grass 2 Grace’ or Wizkid taking stock of stardom on ‘Superstar’ or most recently Omah Lay’s exploration of mental health with ‘Boy Alone.’  Also, not all music must have ‘substance’; sometimes, music, being food for the soul, is just meant to be felt and enjoyed in moments.

 

The soundscape of ‘I Told Them…’ is symbolic of everything the Afrobeats genre encourages: fusion. American R&B and Hip-Hop are the essentials of the songs “Normal,” “Sittin’ On Top Of The World,” “Big 7” and “City Boys.” The last of the four samples Jeremih’s “Birthday Sex” and is a joyful tune about Burna Boy’s wins. “Giza” and “If I’m Lying” create a home for Amapiano and oriental influences, respectively. “Talibans II” and “Tested, Approved & Trusted” fit in the Dancehall and Caribbean music lane. “On Form” absorbs the African percussion and instrumentals. The producers come from Nigeria, Germany, the UK, US and France and also have ties with other nations, thereby offering a host of influences that give ‘I Told Them…’ a universal feel.

‘I Told Them…’  is an excellent example of Burna Boy’s mastery of sound and intent. While his fixation on demanding endless praise without taking responsibility for his wrongs is worrisome, it doesn’t take away from the strengths of the album. The Wu-Tang Clan effects streamline the project into a coherent output, as they highlight Burna Boy’s reach and appeal yet don’t hinder him from making a fun album about his achievements. The road is paved in gold for Burna Boy; moving forward, he alone determines what direction he takes.

ICYMI: BURNA BOY DEBUTS ‘I TOLD THEM’ MAGAZINE ALONGSIDE ALBUM RELEASE

NATIVE Selects: New Music From Ayra Starr, SGaWD, Darkoo & More

Posted on by The Native

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from Kah-Lo, BNXN, Young Stunna and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

AYRA STARR – “RHYTHM & BLUES”

Emerging as this year’s best female artist, Arya Starr has delivered the highly anticipated single “Rhythm and Blues.” The new track, while showcasing the superstar’s vocal prowess, confesses love to a special person which she refers to as her rhythm and Blues. She emphasises on how special this person is as she sings in the chorus “My rhythm and blues/ So many things you dey do nobody do me like you do.”

MUZI – “MILK & HONEY/LIGHT”

Over the years, Muzi has been one of the most inventive artists in the South African music scene. An experienced purveyor of electronic sound, his music finds a middle ground between futuristic and traditional forms of expression, an ingenuity that’s made him a favoured act beyond the continent. On his new double release, Muzi channels the positive energies he’s reflected since the start of his career. The mellow “Milk & Honey” features British rapper The Last Skeptik who layers evocative bars over the production. “Light” sees Muzi go solo, but with his masterful vocal manipulation, it’s a communal-evoking record which calls the body to move.

DIANE DDDD – “MA JOLIE”

Exceptional Francophone artist, Diana Dddd, releases her awaited single “Ma Jolie.” The singer promotes the idea of valuing oneself and achieving personal growth within the context of relationships. The lively and colourful percussion instruments create a harmonious blend that beautifully complements the artist’s pure voice and the meticulously polished production.

WAVY THE CREATOR, SGAWD  & ARIEENATI- “SHAYO GALORE” FT. LE MAV

After a long 2 year hiatus, Wavy The Creator bounces back into action with the rising rap queen, SGaWD, to deliver catchy and feel-good tunes on “Shayo Galore.” With the help of a formidable production trio of Le Mav, ArieNati, and Malik Bawa, “Shayo Galore” proves to be a good time accompanied by a lush, memorable beat. The song’s heart-thumping production promises a good time with a melting pot of Electronica, House and rollicking bass. 

NISSI – “NOBODY” FT. FIREBOY DML

When this song was teased a while back, listeners eagerly anticipated its release. Nissi after all has been one of the shining lights of the alternative scene, impressing her luscious vocals on memorable songs over the years. Alongside Fireboy DML, both artists create a smooth vibe on this one. The writing is pristine as ever, the beat ecclesiastical, while the promise of remaining loyal to one’s lover renders a tender energy to the record’s seams. A fine collaboration. 

DARKOO & TION WAYNE- “SHAYO”

On this party-ready track, Darkoo soundtracks the motions of a night out. Amid crowd vocals and the saccharine measure of the production, it’s a song with charming exhilaration and well-realised images. Her hybrid qualities are on display as she sings for those with some weight to get off their chest, while Tion Wayne delivers beautifully with his Christopher Wallace-mentioning verse. A fine collaboration, it extends Darkoo’s ethos of connecting the African soundscape to the diaspora. 

BRUCE AFRICA – “SLOW”

A rising artist from Tanzania, Bruce Africa creates an impressionable melody on this one. “Slow” doesn’t describe the energy of the song; there’s rather a fast-paced progression to the beat, but it’s the artist’s tender yearning for a lover which supplies its attendant chorus and its title. Elements of the bongo flava sound are present, but the song resides more in the Afropop style, which proves Bruce’s versatility which, with the right push, should make him an accepted name around the continent. 

DJ GIAA – “MESSAGE/JAZZ HOLE IKOYI”

The wide reach of Amapiano has been largely owed to producer/DJs and GIAA is a figure you should know. A consistent purveyor of the sound, his high-tempo production has earned him a loyal following from the US where he’s based. On his new double release, the masked act unfurls distinct layers to the Afrobeats sound, which is especially present in “Jazz Hole Ikoyi.” He’s also an inventive user of his vocals, a sort of hype man controlling the tempo of the party. 

KEMUEL – “ALONE”

Known for his evocative writing and fine vocals, Kemuel has emerged as a young talent to watch out for. His collaborations with the likes of SPINALL and Olamide have bolstered his potential, but Kemuel continues to release solo material. His latest is this vibey record; on the other side of his heartfelt lyricism, where he sings about not wanting to be lonesome, there’s a bevy of Highlife-originated guitar playing which contributes to the song’s sweetness. Surely, it’s a good way to keep his name on playlists as we approach the end of the year. 

COULTS – “IN THE MIDDLE” FT. DEELA & ODUNSI (THE ENGINE)

DEELA and Odunsi (the Engine) showcase their admirable synergy as they  join Coults to deliver a memorable rendition of “In the Middle.” Each artist showcases their ability to sync perfectly with the heavy bass Rap track with ease. Coults strongly introduces us to the song with his verse and carries on to spearhead the captivating hook. Odunsi leads on the second verse while DEELA appears later on, sealing the track with the final verse sung in her effortlessly confident bars. 

[Featured Image Credits/The NATIVE]

Words by Chigoziri Ezeaku and Emmanuel Esomnofu

IN MEMORY OF MOHBAD, THE STREET-POP ARTIST WHO ALWAYS SOUGHT THE LIGHT

New Music Friday: Projects From Nasty C, Juls, Cassper Nyovest & More

Posted on by Nwanneamaka Igwe

It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes unmissable projects can slip through the cracks, unheard. This column serves to bring those projects to your ears as you wind down to the weekend. We’ve compiled a typically spellbinding list today, a vast terrain in the African music soundscape covered. In addition to new projects from Nasty C and JULS here are some more projects that deserve your ears.

NASTY C – ‘I LOVE IT HERE’ 

South African Hip-Hop maestro, Nasty C, makes a refreshing introduction to this week’s New Music Friday. ‘I Love It Here’ arrives with a generous track list of 19 songs enlisting some of the best vocalists —Manana and Ami Faku—and rappers, Maglera Doe Boy, in South Africa’s booming music scene. For his first album since his 2020 release dubbed, ‘Zulu Man With Some Power,’ ‘I Love It Here’ presents a refreshing perspective on Nasty C’s growth over the years. He comes armed with slick bars of praise, reminiscing of his journey this far, with occasional love-tinged tunes like Benny The Butcher-assisted “Prosper in Peace” where he beckons on his love interest to confess her feelings towards him. The project doesn’t miss his tone of gratitude and contentment as he showers praise on his longtime girlfriend and child. 

VIC MENSA – ‘VICTOR’

Ghanian-American singer and rapper, Vic Mensa offers an eponymous album, the first project release since his 7-track extended play dubbed ‘I TAPE’ back in 2021. He taps iconic American Hip-Hop figures like Common and Jay Electronica, soulful bassist and singer, for a smooth rendition on “STRAWBERRY LOUIS VUITTON” and more Pop-leaning sensibilities with TY Dolla $ign on “Eastside.” There’s something for every listener on the versatile album as Vic Mensa taps a slew of influences from his American and African roots. It also presents a good balance of solos, allowing Mensa’s effortless flow to shine through the Hip-Hop project.  

JULS – ‘PALMWINE DIARIES VOL.1’

Master DJ-producer, Juls, pays homage to his Ghanaian roots on ‘Palmwine Diaries Vol.1,’ a lush 6-track contribution to his breezy, contemporary Palmwine sound. It provides a mellow groove with accompanying vocals, paired with an intriguing insight into Juls’ mind through breezing conversations. While acts like Cina Soul appear to provide a soothing, heartwarming rendition, the likes of Kofi Mole, Sarkodie and R2Bees appear to spit some hard-hitting bars all under Juls’ airy production.

CASSPER NYOVEST – ‘SOLOMON’

It’s not everyday you see icons like Nasty C and Cassper Nyovest dropping full-length albums on the same day but today is special. Cassper Nyovest delivers an 11-track project dubbed ‘Solomon’ where he reflects on several themes. Stand-out records include “After 10” where Nyovest reflects on his contributions to the music industry over the past decade, “10 years making hits for you, Still feels like we lifting off.” Through the course of the album, Nyovest is communicating his emotions over a slew of slick bars that allow his authenticity to echo in a cheeky yet relatable form that not many can effectively pull off.

WANGECHI – ‘EMOTIONAL GANGSTER’

Wangechi makes a heartfelt re-entry into the Kenyan music scene after a much-needed 9-year hiatus since experiencing a life-threatening accident. She makes a gleaming comeback with the 10-track album dubbed ‘Emotional Gangster,’ where she admirably wears her heart on her sleeve, telling stories of grief, facing fears and navigating self-doubt. She taps the likes of BURUKLYN BOYZ and Domani Mkadinali and is able to balance a story of embracing one’s emotional side with a story of hope and liberation.

ANAÏS CARDOT – ‘PINK MAGNOLIA’

French-Gabonese R&B-Soul singer, Anaïs Cardot, delivers heartwarming croons over emotive keys on her debut EP, ‘Pink Magnolia.’ The 6-tracker provides solo renditions in French – “Que Te Gusta De Mi?” and “Colors” and English across a lush soundscape of twinkling keys and honey-tinged guitar strings. Her vocals can effortlessly hold a stark vulnerability across the 16-minute run time as she navigates the uncertainties of Love and life.

AGUERO BANKS – ‘GOD IS NEVER LATE’

Eastern-Nigerian rapper, Aguero Banks, taps the likes of Phyno and DanDizzy for a Street-Pop 6-track extended play. While tracks like “Preach” and “Bia” hold a more mellow, low-cadence soundscape laced with Aguero’s Igbo and English rustic bars, Ugoocie-assisted “Pray For Me” brings a groovier, upbeat perspective.

[Featured Image Credits/The NATIVE]

NATIVE Exclusive: ITUA Wants To Heal The World

Posted on by Emmanuel Esomnofu

ITUA embraces multiplicity. The Dutch-Nigerian musician would stop you in your tracks with his tender and realistic narratives, emerging from years of hard-wrought artistry. When NATIVE Mag spoke with him in August, the drummer and singer was set to release his sophomore project, ‘Transition’. Since last year when he began putting out solo music, ITUA’s sound has incorporated elements as diverse as bedroom pop, alternative rock, blues, and of course, the percussive patterns from home. 

“It was very broad,” he says about the music he listened to in his early life. “We used to listen to a lot of Fela, there was also music from Congo, in that time, a lot of Makossa music. Later on I loved 2Face, Tony Tetuila, but also all these Western music”. His elder brother Elvin pushed him to hear sounds far from their geographical location and that influenced his omnivorous taste. ITUA began playing the drums at church and school when he was around twelve years old. Later during our call, he’d turn on his camera and behind him is his home studio, his drum set in radiant formation.

 

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“Rhythm is the key of everything,” he says in response to why he chose to play the drums. “It’s the base. The bass guitar comes close; I also play that. It’s what keeps people moving; you can play music and somebody doesn’t like it but oh, if the rhythm is there, he will start moving. That’s what I really like about drums; it’s a universal thing, you know.” 

Getting around the Netherlands music scene, ITUA found a regular job playing drums for musicians which included Bea1991, Klyne and Thomas Azier. “Doing those shows,” he says, “I realised I wanted to do these shows on my own, and have my own stories to tell. I think that happened around seven years ago”. It took six years later for ITUA to release his debut record. That time was spent in the chambers of learning, as he took on production and learnt to bend his perspective into sound. “I wanted to understand the vision behind the music not just wanting to be an artist but having something to contribute in the bigger sense”

The appeal of “Sort It Out” springs from its honesty. The depicted character is a quintessential rover, in search of love but at conflicting odds with the soft matter of his heart. Because he knows he must reconcile those issues, his conversation with the love interest makes up the song’s crushing lyrics. “I don’t wanna think the way they taught me over there,” sings ITUA in a melancholic tone reminiscent of Sampha, or even Frank Ocean, given the weightless admission of his own shortcomings. “You don’t even know how much it took me to see clear/ I don’t want your sorry, I just want you over here”.

Contemporary music has much use for open-ended lyricism, the sort of writing that embraces the iceberg theory of the great American writer Ernest Hemmingway. According to him, a short story—in this case, a song—should leave much of its narrative underneath its telling, an iceberg basically, so there is richness for the reader to discover. It’s a recognisable advantage that ITUA produces his own music; each part of the mosaic sound is well actualised, from the mellow drums to the interjecting note. “Heartstop” was similarly masterful. The reverberating bass is made to mirror a heart’s beating, as the artist and producer’s oneness reveals itself in the sweet, purposeful singing of ITUA. “My heart go stop, you make my heart go stop today,” he offers in cheesy Pidgin-English, exuding a pleasant boyish aura. 

ITUA deals in the human condition. His music listens to the colourful, crazy conversations of life, and his gaze thins the size of them into character-driven pieces. In August 2022 he released his debut project ‘nice to meet,’ which included the aforementioned songs but also the sparkling “one kind” and the grand hipness of “Be There,” all of them creating the project’s deep sensorial, almost dreamy, feeling. Then his voice arrives like waves on the beach shore. 

ITUA was born in Eindhoven, the Dutch town where his father, a young engineer, met his mother. A Nigerian from Edo state, Mr. Usidame worked for Shell, a job which parlayed into opportunities that took him around Europe. It is his face on the cover of ‘Transition,’ an ID card which, given its displayed details, was a swimming passport from the Shell company. In conversation with ITUA, there’s a hint that their relationship had its grey areas, and the project evokes variant shades born of a complexity of feeling.

“I really try to keep the base on my own experiences, and experiences I see from other people’s lives,” he says in account of his music. “Just be free to express what you want. It all started at home, like the two cultures at home, it was not very easy so there were a lot of fights. A lot of anger and sadness, so that was also a reason for me and my brother to play music.” 

The artist feels “a responsibility to share what [he] knows,” by virtue of the narratives he’s imbibed. ITUA began creating the songs for ‘Transition’ about a year ago, tussling with his identity as a person of colour in the Netherlands, which can be tough “especially if your roots are not communicated at home,” he affirms. Right after his father died, the artist would overcome a depressive episode. “I didn’t have the same understanding about Nigeria as I have about the Netherlands. At some point it gets confusing”. 

The six songs on ‘Transition’ provide a peek into the character formation of a man. In that sense, the EP progresses towards a longing for fullness, as palpable from the first song “Something To Prove,” where psychedelic drums relay the urgency of wanting to bloom in the face of doubters; “Trophy” begins with the telling lyric, “I want better, can’t ease my soul”. On “What’s Wrong” he coaxes good energies from the people around him, sympathetic to the greyness he sees, familiar to the one within him. Here he most assumes the afropop sensibility, at least in production, where the knocking drums and upbeat chords would seamlessly feature in a Obongjayar or Tay Iwar album. 

ITUA would emerge on the other side of the tunnel, some six months after the depressive period. He was better reconciled with who he was. The process of ‘Transition’ was more enjoyable. “These songs are the first time that I really could let go and just enjoy the process,” he affirms, “and create what just felt right and before then, I really wanted to do the same thing but I was still influenced by my environment, how people wanted me to be. What you see on Instagram—oof. Like, maybe I should take this route. Am I not too old, you know, all these questions. But now that doesn’t matter; it’s your own route, it will make sense in the end”.

NATIVE Exclusive: Eclipse Nkasi’s Grand Vision For Music And AI In Africa

A 1-Listen Review Of Juls’ New EP, ‘PALMWINE DIARIES VOL. 1’

Posted on by Emmanuel Esomnofu

Afropop’s wonderful range would be impossible without the contributions of Juls. For more than a decade, the Ghanaian-born producer has soundtracked its mellower side, adapting the coast-evoking vibe of Highlife into contemporary movements. Dubbed palmwine music, the current popularity of the sound, while championed by Show Dem Camp, however owes a lot to the ingenuity of Juls who created its template on the seminal SDC record, “Feel Alright”, which set-off the veteran rap duo’s iconic ‘Palmwine Music’ series.

Returning now to the well-accepted name, Juls wants to extend the mythos of its sonic. Pioneer aside, as heard on the sprawling ‘Sounds From My World’ the producer’s craft has advanced, thus making the prospects of ‘PALMWINE DIARIES VOL. 1’ very tantalising. The fusion of his eclectic sensibilities, filtered through the classical metre of the palmwine sound, should make for great music. Calling up a feature cast which includes artists like Sarkodie, KiDi, Worlasi, Cina Soul and the great Black Thought of The Roots, it’s a possible game-changer, and you can tell already that I am excited for this one-listen review. So let’s get into it. 

 

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In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.

“UNFORTUNATELY” FT. R2BEES, SARKODIE & KIDI

Languid, chill vibes here. These keys are glistening with fruity promise. I’m loving what this person’s doing with his voice. Sounds like Mugeez; there’s that smokey appeal. The rap is accomplished too; short but poignant. I’d like to groove to this in Ghana with the man dem. Very smooth arrangement here; Sarkodie’s here now. His flow card has never declined through the years, it’s forever pristine. What a packed introduction, man. Everybody’s coming correct; this is KiDi. I’ve been listening to him more this year. That “Likor” song with Stonebwoy is afropop’s best kept secret this year. He was really neat with his songwriting, as he is here. Solid, solid opener. 

“ENJOYMENT” FT. PURE AKAN 

A more upbeat production here. I’m loving these rap flows of Pure Akan; there’s a way his voice goes behind the beat, like he’s speaking from far away, calling you to come join him. It’s a really fun affair, this song. Reminds me of the Ghana bar we had close to our house back then. People would merry and dance to the music, clutching their chests like they understood the words. Akan does wonderful here; he sounds like a unique artist. This is surely my cue to check him out. 

“FOCUS” FT. BLACK THOUGHT, WORLASI & KOFI MOLE 

Back to the chill palmwine. There’s a serene interlude vibe here. Like everyone’s worked through the whole day and now it’s time to chill. Juls knows how to use these drums, man. The rootsy quality of an ancient period is never lost; he takes you into those experiences. Horns are applied in good measure too. Light but with enough spark to inflect the song’s mood. Black Thought! His flow always gets to me; here he’s reflective but packing the energy he’s famed for. He’s always shone on live-centric beats, considering his roots with The Roots (pun well intended), and here he just coasts over every element of the sweet production. I love this one. 

“WOSSOP” FT. KWW, QUAMINA MP, KOFI MOLE, TWITCH 4EVA & DAYONTHETRACK 

I love this gruff-toned artist who’s starting out. He sounds very invested in the song. The roll of this rhythm, man—Juls is a master. It’s the most forward-leaning I’ve heard Highlife sound since The Cavemen’s “Stranger”. You can have twenty different artists on this and they’ll find unique ways to flow over the beat; it’s that accommodating. Gruff Voice has the best hook on the project so far; I need to know who he is. Everyone’s coming correct here, though. There’s no clear standout; rather the song is the standout. Very accomplished collaboration; there’s a lot to love about the loyalty of the Ghanaian turn Juls takes on this project. He brings it home. 

“SOMETIN SMALL” FT. WORLASI & CINA SOUL 

Afrobeat-esque drums on this one. The dusty colours of Tony Allen all over. You can tell Juls went deep into his palmwine to get this juice. What are the intersections between Highlife and Afrobeat? Highlife is the older genre, and was the genre of Fela before he switched over. Speaking of Fela, it’s the direction this song takes. Worlasi channels his immortal spirit. The inflections and the language. The way he stretches and cuts into flows. The consistent measure of the production. Cina Soul is given free rein; she’s the spiritual conduit of the record. The queen of Fela’s backup singers; the one who sometimes saunters into the main stage and changes the dynamic of a song. So much detail here. 

“PALMWINE RIDDIM”

I have to say it now. I’ve been hearing The Cavemen on this project; now I’m hearing their voices here. That signature husk of Benjamin. However the background conversation is rooted in the Ghanaian landscape, like a meeting between elders. Even the percussions are striking in their identity. A horn solo; this is a favourite of the Highlife genre. I could never forget the transcendental feeling of hearing the solo on Cardinal Rex Lawson’s “Jolly Papa” for the first time. Anyways, this song is golden. A reflective end to a project that’s expressed more than it considered. I like the touch; there’s a novelistic edge to it. 

FINAL THOUGHTS

Juls has always been a focused musician. Even as he increasingly entered into the mainstream scene over the past few years, the quality of his sound was never compromised, instead he drew artists into the pristine field of his musical understanding. Beyond these collaborations, projects have been the way he’s reflected his standing at every point of his ever-evolving journey, and for the first time, coming into ‘PALMWINE DIARIES VOL. 1’ most people knew what to expect. The phrase has become cultural knowledge, even though not many have situated Juls place in its formation. Going into that roots was always going to be a rewarding experience, but Juls makes it even more rewarding than anyone could have guessed. 

With well-chosen, eclectic features which all tied the project’s narrative centre back to Ghana, the EP shines with destiny and deliberation. There’s no piece that seems overwrought or out of place, rather every artist brings their A-game, tilting ever softly to meet the requirements of Juls. In his role as creator and curator, he is graceful with his position, moving to the ebbs of genres residing outside palmwine while incorporating colourful voices, mostly artists from Ghana who relish standing on the world’s stage. The result is an uproarious body of work whose Ghanaian roots link with diasporic seams.

NATIVE EXCLUSIVE: A SONIC JOURNEY INTO JULS’ WORLD

ODUMODUBLVCK’s ‘EZIOKWU’ Draws Closer With New Single, “MC OLUOMO”

Posted on by The Native

The journey towards ODUMODUBLVCK’s ‘EZIOKWU’ is nearing completion, with impressive showings on Joeboy’s “Normally,” Adekunle Gold’s “Wrong Person” and Falz’s “NDI IKE.” The project promises to be a thrilling ride through ODUMODUBLVCK’s world of pop culture references and musical versatility. Last week, the rapper and singer won the Rookie of the Year award at the 2023 Headies in Atlanta, Georgia—signalling his growth into a talent worthy of recognition.

ODUMODUBLVCK unveils his latest single “MC OLUOMO” off ‘EZIOKWU.’ Produced by Cross Ateiza, the track is a Drill-based rendition of ODUMODUBLVCK’s confidence and swagger. It borrows its title from Musiliu Ayinde Akinsanya—popularly known as MC Oluomo—head of the Lagos state branch of the National Union of Road Transport Workers (NURTW). 

Since his breakthrough on 2022’s “PICANTO” with Zlatan and Ecko Miles, ODUMODUBLVCK has taken pride in subverting the expectations of the music industry. “I can do without their policy I go (I go)/I must fall in with all my niggas aboy (Aboy)/If them wanna bounce person it cannot be mine (Mine oh no)/Men just boku e be like them be rice (E be like them be Rice),” he sings on the runaway hit track “DECLAN RICE.” ODUMODUBLVCK began his career in Abuja—a city currently known for its striving Hip-Hop community—where he built a following before carrying that buzz into Lagos. Although in Lagos, ODUMODUBLVCK hasn’t lost sight of his early days, opting to hail his city at every opportunity.

“MC OLUOMO” is a subtle nod to the contributions Lagos has made to ODUMODUBLVCK’s career thus far. He has been embraced by the Lagos audience at shows and media interviews. At the moment, conversations have risen about Abuja and Lagos’ influences on ODUMODUBLVCK’s music; he has been clear about Abuja’s contribution to his art but has also acknowledged the benefit of venturing into the Lagos circuit.

“How many time did they try to come back like Kylian/But I quack them down/Many men wan try mess with Messi on a big stage/I call them clowns/Jagaban antics/Run trap like Lagos till the bando babies call on us,” ODUMODUBLVCK raps on “MC OLUOMO.” His lines are punchy and Cross Ateiza’s production lends the necessary heft to his words. ODUMODUBLVCK tears through the track with vigour, dismantling any notion about his unworthiness to sit at the pinnacle of success.

“MC OLUOMO” is a taste of the things to come on the NATIVE Records artist who is set to release his debut mixtape on October 6. It’s a signal to ‘EZIOKWU’ being a compendium of ODUMODUBLVCK’s truths and beliefs. With a deal with Def Jam locked in and ODUMODUBLVCK inching his way into the UK music scene (see Unknown T’s “WELCOME 2 MY STRIP”), ‘EZIOKWU’ is the artist’s chance to stamp his authority with his music.

Stream “MC OLUOMO” below.

ICYMI: What To Expect From ODUMODUBLVCK’s Forthcoming Project ‘EZIOKWU’

Featured image credits/NATIVE

In memory of Mohbad, the street-pop artist who always sought the light

Posted on by Dennis Ade Peter

The first time I went to Ikorodu—not ‘IKD’—Mohbad was there. Not in person. Actually, that wasn’t the first time that I was in that deep southern axis of Lagos. I had extended family there for a couple of years and we visited at least four times that I can remember, but they lived in the more vanilla side of town and my cousins were the type to call it IKD. This time around, in late 2020, I was cramped in the backseat of a Sienna with two other friends, all seven of us in the vehicle going to Lagos State University of Science and Technology (LASUSTECH), fka LASPOTECH, for a volleyball match.

Like I said, Mohbad was there, but not in person. In the car, as the driver—‘Papa’, as we like to call him—snaked through roads that sloped up and down, “KPK,” the inescapable hit song with super-producer Rexxie, rang out at least three times and we all sang along judiciously. I think that was Shola, the dedicated aux guy, just reloading the song every time a new song came on and he didn’t like it. I can’t remember what the conversation was about till today, it must have been something very mischievous, but I remember Innocent, left corner at the backseat beside me and Henry, yelled “for my life, I never see pussy wey bitter,” quoting that viral line from Mohbad’s “Ponmo.” We were just minutes away from turning onto LASPOTECH road.

We were in the real Ikorodu. I mean, I grew up in another hood in Lagos, far away from Ikorodu, but I easily latched unto and spoke the slangs that caught my ears as soon as we were dapping people up, the blasé roughness in their cadences. Everywhere I turned, I heard niggas saying “Aje.” I heard the ladies, who were checking us out, say “ko po ke?” in playful jest. Mohbad was here, expectedly. During pre-game warm-ups, a speaker was rattling out tunes next to the court: “KPK” played, so did “Ponmo,” and the Davido collab, “Once Debe.” Of course, he’s beloved in the place that he came up in—no stereotypical prophet.

Yesterday evening, the family of the man born Ilerioluwa Aloba confirmed his passing. He was 27-years old. Gone too soon, fuck the 27 club. (Related: RIP Dablixx Osha.) I’ve heard people say death is the ultimate leveller, which I think that’s dishonest, because not everyone lived life the same and there’s a reason we consider a person’s legacy after they pass. Death didn’t level Mohbad, it snatched a star who clearly believed that we were not put on this earth to just flounder in the wind and wait for the end.

Like many street-pop artists, Mohbad didn’t try to be everything to everybody; he sang and rapped for himself, for his people—people raised in circumstances where you have to make shit happen because that was the only option. “I’ve learnt to always do what comes to your mind,” he said in an interview on ‘Osikoya Speaks’ months ago. No floundering, no waiting for the end. Just do it. I think he was wearing a pair of Nikes at that Blaqbonez Valetntine’s Day show in 2022.

“Iya to je mummy mi, to je daddy mi/ma je ko je mi,” he rapped on “Imole,” a song that pre-dates being an official Marlian but helped build his street cred. That line is simple but loaded, a prayer to God to escape the familial history of financial want. I never could relate, my parents were civil servants on very modest income, so we had food and some Christmas clothes, and they earned enough to make sure I got a degree from a Nigerian university. But I lived in close proximity to people whose parents couldn’t afford them that latter privilege. After secondary school, they either learned trades or hit the streets. Tarrying wasn’t an option, just make something happen for your sake, for your family’s sake.

On “Sorry,” the intro to his December 2020 debut project, ‘Light’, Mohbad recalls ditching classes after his father scavenged around for money to enrol him at the polytechnic—he didn’t see a pathway through school. “I don dey do yahoo/I don dey take banku,” he confessed. By this time, he had been signed to Marlian Music, the record label founded and floated by the patron saint of irreverence, Naira Marley. Success had started coming in, but he wasn’t far removed from the formative experiences that shaped him. “Omo pastor ti wonu aye,” a submission that he was a sinner; music was his redemptive arc.

 

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Mohbad always sought the light. “Imole ni mi, mo de fe tan kari aye,” he shared amidst the life-baring bars on “Imole.” “I am light and I want to shine all over the world.” His debut EP was partly defined by the trappings of being closely affiliated with a crew whose pioneer turned cruddy and lewd slang into period-defining bangers. Beyond that, it was evident that Mohbad was a lot more soulful than a song like “Ponmo” would suggest. He just so happened to be a versatile artist, one that could synthesise street slang into lung-raising slappers.

The obvious one is “KPK,” the Rexxie co-headlined single that revolutionised Nigerian pop’s sonic relationship with Amapiano. Mohbad inhabits the rolling drums and shiny synths with his trademark drawl, as if it had been predestined that this would be a hit song. Personally, I’m a big fan of his verse on “Money,” the collab with Terri and Bella Shmurda. It’s sixteen bars of infectious precision, nothing is wasted and everything is quotable. Perhaps, he knew that minting ear candy out colourful quips would be too easy, so he turned inward as often as he could. Besides, it’s not that he couldn’t do both at the same time, as “Feel Good” proved.

At that Blaqbonez show I mentioned earlier, Mohbad came on stage but I can’t remember what song he performed first. Maybe it was “KPK.” I do remember that he performed “Feel Good” last and as he went into the second verse, he asked Blaq, who was hanging on the side, to come closer and join him at the centre of the stage. “Feel Good” was a hit record, not as popular as the Rexxie collab, but the crowd knew the song and were chanting along. As soon as Blaq joined in to adlib that second verse, the level of vocal activity dropped, as if we all wanted to hear some positive admonition. “I know there is a day, all my pains will go away,” Mohbad sang, Blaqbonez adlibbed the last word. I’d heard that line more than a few times before, but it touched me (and possibly many more of us) in a different way.

“I’m not feeling the way I’m supposed to feel but I’m OK,” he sang on “Feel Better,” in the aftermath of his messy split from Marlian Music. In his search for better, there was a sense of gratitude, a lot of it rooted in religion but also as part of a formative street tenet that you never take anything good for granted. That’s what made ‘Blessed’, his June-released sophomore project, so delightful. There was stuff to be embittered by, but the focus was on a present where he was the one now sending money to his father, and a future where happiness, actual happiness, could be achieved.

“Beast & Peace,” one of the best intros in Nigerian music this year, is packed with stream of consciousness raps, poignant bars that reflected his status as a star who was still very much in touch with reality. “Doctor want  you sick, lawyer want you in trouble/Na only thief dey pray make you successful,” he sang on the gospel track, “Blessing,” one of the most profound lines you’ll hear in music this year. The depth in Mohbad’s music was earned, but he never claimed to be an authority. Like many of us, what he wanted the most was to have fun and find peace amidst life’s randomness.

There’s no neat resolution to his life, he could’ve written so many more chapters if he had more time. However, his work is testament that he lived as best as he could. In a sense, he’s found the light.

ICYMI: READ OUR TRACK-BY-TRACK REVIEW OF MOHBAD’S ‘BLESSED’

Best New Music: Patoranking & Victony Are A Delectable Pairing On “Babylon”

Posted on by Emmanuel Esomnofu

Music stands at the intersection of all of life’s experiences. It’s a nod to cultural references while being a charged conduit for the musician’s own personal sensibilities. The best songs are those who are confidently placed on this intersection, such as the lead record from Patoranking’s fourth album, ‘World Best’. Influenced by the convergent genres of Reggae and Dancehall, the artist has been one of contemporary afropop’s most visible champions for the Caribbean-hoisted movement. That has placed great responsibilities on the shoulders of the man born Patrick Okorie, and by reaching deeper into his expression, every project has been to serve the purpose of uniting those transcontinental messages with the turning motivations of his own heart, the ever-evolving details in the chasm of his reality. 

Appearing with Victony, the song “Babylon” is the finest example of that fusion on the superstar’s new album. It’s a convergence of several artistic choices, like the dystopia-evoking title which is chosen. Babylon’s place in the biblical canon cannot be debated, because it was a sharp, pristine demonstration of divine influence in the affairs of man, and ever since the word has signified the dysfunction of the modern world, largely popularised by the rasta believers which evolved from Jamaica. On Patoranking’s record, the word occupies a similar place, a formidable opponent whose trappings are familiar and likeable, but ultimately dangerous. The choice of Victony as feature also hits another fine stroke at meta-artistic conversation, since the artist has consistently evoked biblical imagery and themes in his own music. 

 

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A lithe, slightly screeching, softness, his voice is the first you hear it calls from the depths of emotions with just the words: “Babylon, Babylon”, and follows up with the more revealing line, “Me I go run and run until I find Heaven’s gate”. It’s a framing that puts the record in visible light, as a piece of social commentary. But the social is invariably tied to the personal, in that humans make up every society, and grander problems can often be whittled down to smaller, interconnected issues. 

Throughout his career, Patoranking has always reflected this perspective. Removed from the maximalist existentialism of his younger peers, his narratives are framed around vibrant, everyday spaces, the kind you can walk into after a hot noon in Ajegunle or Ebute Metta. It’s a place where stories of temptations are rife, and on “Babylon” he does depict that. “Dem say make I no go where enemies dem set trap/ I waka with leg like who dey Cele church,” he sings in the introduction of his verse, bouncing with the assuredness his long practice bestows on him. Phantom’s production is a sizzling presence in the song’s success, a zesty pair of the contemporary Caribbean bounce and the more aged dub style, which emerges from electronic influences. 

Sometimes collaborations don’t work as well as expected, but there’s double pleasure here as the listener didn’t see this coming. Victony’s standing among OG artists is cemented, but Patoranking wouldn’t be touted as the next older artist he was going to work with. It becomes a success that they both find an appropriate topic, while delivering naturally through their distinctive styles. Taking their verses midway and finishing off each other’s rhyme schemes, it’s a testament to the close working relationship that birthed the record, which was a marked evidence of what Patoranking said in his interview with NATIVE Mag, that “We like to take new directions; if everybody’s going left, we want to go right”. 

“Babylon” is the centrepiece of one of 2023’s most assured mainstream projects. Coming from the deep wells of emotion it emerges from, it’s a fine record which propulsively advances the motivations of both its creators. When one considers the thematic preoccupations of afropop today, it’s likely that no other record would touch on the same concerns as this record. And while rarity doesn’t bestow greatness, at least not immediately, there’s the potential for blossoming into a singular achievement. 

What’s Going On: Rescue Efforts In Morocco, Storm Daniel In Eastern Libya & More

Posted on by Uzoma Ihejirika

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That. This Week’s Headlines Come From Gabon, Nigeria & South Sudan.

NIGERIA: MORE DEATHS RECORDED IN BOATING ACCIDENT

The death toll in the boat accident in north-central Nigeria has risen to 28 as local communities mobilised in support of an intensified search for dozens still missing.  The incident happened when a boat carrying more than 100 farmers, which mostly included women and children, capsized on Sunday morning. They were travelling to their farmlands in the Gbajibo community, located 251km (156 miles) from Minna, the capital of Niger state.

The cause of the boat capsizing is still unknown. Ibrahim Audu, the spokesperson of the Niger State Emergency Management Agency, revealed that it took several hours before help could reach the community in Mokwa district because of its remote location and villagers nearby were on the lookout for bodies floating on the river.

It is the third boat accident in a week in Nigeria. On Saturday, at least 10 people died and three others were missing on Lake Njuwa in Adamawa State in the northeast region of the country. A week ago, a boat with 18 passengers capsized in Fufore district. At least one person died in that incident and another was missing.

CASUALTY TOLL RISES AFTER STORM DANIEL HITS EASTERN LIBYA

At least 2000 people are feared dead with an estimated 10,000 missing in eastern Libya after the flooding caused by torrential rains. The flooding was due to Storm Daniel, which has also hit Greece, Turkey and Bulgaria in recent days. According to Osama Hamad, the head of the executive in eastern Libya, the figures were from Derna, in the Jabal Al-Akhdar region and the suburbs of Al-Marj. The storm also hit the cities of Benghazi, Susa, Bayda and al-Marj, among others, on Sunday and Monday.

Libyan citizens have shared footage and pictures showing the destruction on a large scale, with entire neighbourhoods, especially ones located along the River Derna that runs down from the mountains through the city, destroyed. Multistorey apartment buildings were also damaged and partially collapsed into the mud. There were images showing cars being swept away by the muddy currents.

Libya’s health minister, Othman Abduljaleel, revealed that many more bodies are still under the rubble in Derna’s neighbourhoods or have been washed away to the sea. “We were stunned by the amount of destruction … the tragedy is very significant, and beyond the capacity of Derna and the government,” he said.

Several foreign governments have sent messages of support and solidarity to Libya. Several nations, including Algeria, Egypt, Iran, Tunisia, Turkey, and the United Arab Emirates, said they were ready to send humanitarian assistance and personnel to help with search and rescue efforts.

ZIMBABWEAN PRESIDENT’S MINISTERIAL APPOINTMENTS STIR CONTROVERSY

Opposition parties and civil society organisations have criticised President Emmerson Mnangagwa’s decision to appoint his son, David Kudakwashe Mnangagwa, as the deputy finance minister in a new cabinet following his re-election.  The president’s act has been described as corruption and nepotism, with Nelson Chamisa, the opposition leader, calling it a “gigantic fraud” and accusing Mnangagwa of not prioritising the nation’s economic challenges.

David Mnangagwa, 34, will serve as the deputy to Finance Minister Mthuli Ncube, while the president’s nephew, Tongai Mafidhi Mnangagwa, was also named deputy minister of tourism and hospitality. This decision is part of the newly constituted cabinet consisting of 26 ministries.  President Mnangagwa also appointed husband and wife, Christopher and Monica Mutsvangwa, as ministers. Christopher Mutsvangwa will lead the new ministry of Veterans of Liberation, while Monica Mutsvangwa is the new minister of Women’s Affairs and SMEs.

Citizens Coalition for Change (CCC) lawmaker Fadzayi Mahere called Mnangagwa’s cabinet “indefensible.” “It’s a toxic mix of illegitimacy, corruption, violence, nepotism, incompetence and sex scandals – everything but the ethical leadership Zimbabweans want and deserve. No wonder the national mood is so funereal,” he said. This controversy follows President Mnangagwa’s re-election amid opposition claims of electoral irregularities. Critics argue that his actions are contributing to a perception of dynastic politics in Africa, following the footsteps of other leaders who have appointed family members to key government positions.

VOLUNTEERS AND RESCUE WORKERS CONTINUE TO SEARCH FOR SURVIVORS AFTER THE MOROCCO EARTHQUAKE

Moroccan volunteers and rescue workers, supported by foreign teams, continue to search for survivors and provide shelter for hundreds of families who have lost their homes more than 72 hours after the earthquake that killed almost 2,900 people.

On September 8, 2023, a magnitude 6.8 earthquake hit Morocco’s Atlas Mountains region, with the earthquake’s epicentre located in Al-Haouz province in the High Atlas of the mountains. The earthquake is the country’s deadliest in more than 60 years, killing many people and leaving at least 2,476 injured. The deadly earthquake has put a heavy burden on the North African kingdom’s emergency resources and some stranded in shattered communities are angry and shocked over what they say is a lack of an influx of aid.

“We feel abandoned here, no one has come to help us,” said 43-year-old Khadija Aitlkyd from among the ruins of her village of Missirat in a remote area high in the Atlas Mountains. The head of the Moroccan government, Aziz Akhannouch, chaired a meeting on Monday devoted to the reconstruction of homes destroyed in the disaster zones. According to him, solutions are currently being studied for the homeless.

Meanwhile, the villages closest to the epicentre of the earthquake remain inaccessible due to landslides. The Moroccan army has set up field hospitals to treat the injured in isolated areas, such as the village of Asni, in the stricken province of Al Haouz, just over an hour from Marrakech.

Featured image credits: Bulent Kilic/AFP

NATIVE Selects: New Music From Kah-Lo, BNXN, Young Stunna & More

Posted on by Nwanneamaka Igwe

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from JULS, Pheelz, Major League DJz and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

BNXN – “SWEET TEA(ADUKE)” 

A couple months ago, BNXN announced his upcoming album dubbed, ‘Sincerely, Benson.’ He leads us one step closer to the release with his new love-themed single, “Sweet Tea (Aduke).” The slow-tempo single leads in with a lush flute single, followed shortly after by a warm address to his love interest. On the SAK PASE-produced track, he pointedly asks his love interest at what point their love went sour. The track fades out with a solo instrumental paired with soft croons in the background. 

SARZ, CRAYON & SKRILLEX – “YO FAM!”

Following the release of ‘Memories That Last Forever,’ Sarz has unveiled another layer of his artistry with gleaming production credits from American Pop DJ, Skrillex and vocal accompaniments. The drum led instrumentals lead the upbeat track embellished with subtle electronic vibrations. Crayon’s rendition rides the wave of the beat as aptly questions his love interest in a seamless blend of Yoruba and Pidgin. By the time the hook comes around, the thumping drums commonplace in Afro-house take centre stage as Crayon croons over the tuneful hook. 

BNXN, YOUNG STUNNA & NIKITA KERING’ – “TRABOSKI (REMIX)” 

In the later parts of last year, BNXN released a captivating house-tinged single dubbed “Traboski.” Now, he taps Afro-house singer-producer, Young Stunna, and Nikita Kering’ for a more upbeat live-performance remix. This version includes mellifluous supporting vocals from Nikita and a hypnotic Zulu-sung solo by Young Stunna accompanied by lush drums and soft piano keys. 

JUJUBOY – “SPACEMAN (REMIX)” FT NONSO AMADI

Fast-rising Afropop singer taps R&B leaning artist, Nonso Amadi, for a glimmering remix of “Spaceman.” The ethereal soundscape leads listeners on a journey to escape reality with its accompanying psychedelic visuals. The single acts as an ode to dreamers, characterised by Jujuboy’s vulnerability and the introspective quest for understanding. He expressly states that he would rather be alone than experience the turmoils a certain relationship has to offer. Nonso Amadi comes in at the second verse to deliver a tuneful verse over the track’s rhythmic drum pattern. 

KAH-LO – “EUPHORIA” 

House music enthusiast, Kah-lo is back and better with a 14-track project dubbed, “Pain/Pleasure.” Towards the end of the project, “Euphoria” comes in as an upbeat club-ready banger where she addresses her love interest to express feelings of excitement they share. She beckons on her muse to explore their chemistry beyond the dance floor as she croons over the upbeat, eclectic production, “we need to go beyond this some time.” 

BOY SPYCE – “SO BAD” 

In the run-up to his debut album, Mavin Records’ Boy Spyce unveils a new single “So Bad” produced by Andre Vibez. The track toes the same narrative-led path of Boy Spyce’s previous singles as he pleads for the attention of a lover. “Love you/Need you/Miss you and you miss me too/Talk true/Don’t lose your feelings for me,” he sings. Andre Vibez’s production is a mellow instrumental that Boy Spyce works brilliantly with staccato-like verses.

POCO LEE & KIZZ DANIEL – “UNLEASH”

Poco Lee is one of those easily recognisable names in the Nigerian entertainment industry. His dance prowess has endeared him to many personalities in the music scene who acknowledge his contributions to the expansion of their music. After working with Cruel Santino earlier in this year on “showmetheway !!,” Poco Lee is here with a new single featuring Kizz Daniel. Produced by Semzi, “Unleash” is about good vibes, succeeding and proving the haters wrong. 

YKB – “SAN SIRO (REMIX)” FT JOEBOY

“San Siro” is a beautiful love song which YKB taps Joeboy for to deliver a very much anticipated remix. Both artists complement each other on the track as they profess their undying love, “I could be your number one hero/ Till I enter casket.” With love songs being Joeboy’s speciality, he embodies his verse as expected, making it better than the original. 

DEELA & MOISE KEANE – “TRY ME”

Moise Keane, a group of three friends from South Paris hand in hand with the trap and Hip-hop star, DEELA, work together to create a track for the lovers of House music,”Try Me.” With this being her first attempt at House Music, it’s only fair to say that she showcased a new level of versatility in her ability to combine House music and her iconic rap style. 

KONSTANCE – “MELO”

On her single “Melo,” 18-year-old Konstance, who juggles music with her studies at Lagos State University (LASU), showcases her talent as one to keep an eye on. With spirited vocals, she marshalls an introspective tune about life’s journeys and its baggage. “Sometimes I feel so down/Thinking about many things that have come my way/And as I take stand strong/Praying for my blessings make e no delay,” she sings. “Melo” is great showing of Konstance’s skills as a singer and songwriter.

[Featured Image Credits/The NATIVE]

Review: Uncle Waffles’ ‘Solace’

Amapiano is a feeling. As the South African-honed sound continues to traverse the continent’s borders in increasingly unfathomable ways, language has not proven to be a barrier to its global success. Through the success of the genre’s frontrunners including Major League DJz and Vigro Deep who continue to sell out venues across the globe, to the widespread love its receives on social media through instant virality, it’s clear that Amapiano is here to stay. Perhaps the most fascinating export to arrive from the genre’s global success, is Eswatini DJ Uncle Waffles who is similarly garnering a lion share of audience attention through thrilling DJ sets on the hottest stages including Afronation and Coachella.

 

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It’s impossible not to have come across or heard of Uncle Waffles. Through her infectious dance moves, the DJ and artist is inviting more audiences to experience and listen to Amapiano, the global sound of South Africa’s townships. This is the latest South African music genre to see its artists on the global stage, with Spotify streams outside of Sub-Saharan Africa growing more than 563% in the past two years. Building on her approachable personality and proximity to fans, Uncle Waffles creates a connection whereby she engages with her audience on TikTok and regularly previews new tracks and scouts new artists, bringing listeners into her world.

It’s through the world of social media that Waffles first got her foot in the door through the viral success achieved in 2021 while playing Young Stunna’s “Adiwele,” to a dance floor of enthralled audiences. It’s also through social media that the DJ landed the attention of her team, South African-led Kreative Kornerr run by Zeus and Kai who further her global ambition through well-thought out campaigns and social outreaches with her growing legion of fans. Social media also serves as Waffles experimentation ground for testing out new material and connecting with new artists who she then invites to collaborate and contribute to her growing sonic tapestry. Following the release of her debut EP ‘Red Dragon’ and chart-topping single “Tanzania” in 2022, the Estwatini DJ and artist returned this year for her second project ‘ASYLUM’ which laid the foundation and served as the first instalment for a full-formed LP now titled ‘Solace.’

Ever the keen observer and shaper of the current tides of culture, Waffles returns strong and confident on ‘Solace’ which reinforces her ability to operate as a industry tsunami with minimal effort and maximum skill despite being only two years away from her breakout moment. On the new album, she continues to draw converging lines between the music and her audience, cementing her impact as one of the female leaders in South Africa’s male-dominated dance scene.

Given that advancing the culture remains central to Waffles’ global vision, her ability to effortlessly translate meaning and feeling on the screen, champions her more viral moments. Think “Yahyuppiyah,” her lead promotional single for sophomore release, ‘ASYLUM.’ The track’s urgent delivery and heavy shakers delivered an infectious buzz that has soundtracked many TikTok videos since its release. The stacked song credits, featuring Pcee, EeQue, Tony Duardo, Justin99 and Chley not only reiterated her dedication to the genre’s ethos of community by providing other artists and producers with a platform, but also shed a light on her first-rate ear for music and the culture around it. The song’s accompanying dance and infectious production spread like wildfire on social media, playing into Waffles’ strength and understanding for surveying the culture while informing it in real-time. 

This innate understanding has set the tone for the rest of her journey as she ascends the ranks. The appeal of Amapiano is rooted in dance and rhythm, which is gleaned through the emerging culture around it. More than just the music or the lyrics that audiences are hearing, the ability to connect with listeners through a video and social-first approach has allowed audiences from around the world to tap into the genre’s fabric by peeling back the curtain on its language-barrier. The speed with which Uncle Waffles has made her name, as one of the most important voices of the younger generation of hitmakers is nearly unprecedented, and this is mostly entirely due to the proximity listeners have to her truest and most vulnerable feelings on social media.

When her sophomore release ‘ASYLUM’ arrived, it was clear that Waffles felt the need to provide a refreshing contribution to the dance subgenre. This created a sharp contrast with a visibly dark, almost daunting, effect in her tone and delivery. Armed with moody, pensive beats buoyed by catchy features, Uncle Waffles peeled back new layers of her artistry on ‘ASYLUM’  with infectious rhythms and melancholic melodies that command you to bump your head and sway your hips. However, the heart-thumping drum patterns paired with light shakers are only one part of the inventive equation when you consider the continued presence of Private School Amapiano and the Deep-House-led excursions. So, while the party anthems remain a crowd favourite with good reason, the melancholic interpretations also served to further encapsulate the genre’s many facets. In Waffles’ world, light and dark are able to exist in tandem, rubbing off on each other but never truly commingling.

As Uncle Waffles hurdles closer to the crown jewels of Amapiano with a mastery of these varying frames of reference, she elucidates that in her world, light and dark can co-exist. Her recent addition to her catalogue, ‘SOLACE,’ — ‘(An Asylum of) Solace’ acts as a follow-up characterised by dazzling synths and wide percussive bass lines providing a soulful touch and broadening our sonic palettes one chord at a time. On the album opener and promotional single “Echoes,” featuring Tony Duardo, Manana and Lusanda, Waffles provides the perfect backdrop for her visitors to chant with lyrics such as “Echoes, but you’re not trying to let this go” which set the effervescent tone of the project. Both Manana and Lusanda are important mainstay acts in South Africa’s burgeoning R&B/Soul scene and their appearance on this track further enunciates Waffles more emotive, vulnerable moments .

The project’s title goes a long way in establishing the mood for the rest of the listening time. Comfort, cheer or support perfectly describe the tone of Manana-assisted “Echoes.” Waffles leads in with the genre’s mainstay embellishments, drawing curious ears in with a familiar bass-heavy pattern lined with subtle shakers. As they drift in and out of the song’s production, their voices and lyrics hold a sense of equivocation in expressing their emotions, as though uncertain to speak their mind. The next track “Peace and Happiness,” continues this penchant for brooding beats and delectable shakers.

“Peace and Happiness” is a fusion of heartfelt memories and a good time. Here, Kamto and Khesto snag production credits on the second track embellished with bubbling piano chords, gently tickled by raspy vocals. Wordless chants and harmonies evoke the feeling of euphoria supported by the occasional drum infusion. “You give me peace and happiness, oh yes/In my soul, in you I echo,” the mid-cadence vocals croon, continuing the project’s aforementioned themes of love. This, however, takes a brighter and significantly less daunting approach—a smooth attempt to lift the mood in the groovy soundscape. So far, our introduction to Waffles’ solemn side presents a nuanced view of soul music and acid jazz, secured by a string of House embellished keys. 

On ‘Solace,’ Uncle Waffles is leaning towards Private School Amapiano–a school of thought which believes that Amapiano should be more soulful and heavily vocalised. It strays away from the heart-thumping drum patterns paired with light shakers and general production-led facet to the genre. On the contrary, this embraces melancholic interpretations to evoking the same transcendental emotions. Seeing as the genre is dance-focused and was majorly exported through upbeat bangers with intoxicating soundscapes as seen on Focalistic’s “Ke Star” or Mellow and Sleazy’s “Bopha,” Private School Amapiano is yet to witness a similar upwards trajectory. Other than tracks like Kabza De Small’s “Abelele,” the Bacardi-House party anthems remain a crowd favourite. 

There’s no party without Uncle Waffles and she reminds listeners of this on the project’s next track “Peacock Revisit” which interpolates a vocal interpretation of bubblegum group Splash’s 1986 hit, “Peacock.” On here, Waffles shows her true skill, coalescing basslines and Barcardi House flows into her orbit. The song’s progressive nature builds a steady momentum with a creeping bass, backed by a penny whistle that drives its rhythmic qualities up several notches. “Peacock Revisit” is a call to action from Waffles to the audience, complete with drum kicks and playful snares that beckon them immediately to the dance floor. 

As the project builds, it’s clear that improving her skills and that of her collaborators is a great source of pride for Uncle Waffles. On “Waffles Anthem,” she taps a slew of artists to showcase their undeniable skills, providing the artists space to fire off their dazzling over-the-top spectacle. Murumba Pitch is a familiar name given the artist’s outstanding vocal contributions on the hit single, “Hamba Juba.” On “Waffles Anthem,” there is an almost hypnotic feel to the track, helmed by the seductive saxophone, clashing cymbals and Pitch’s sonorous vocals. In true anthem fashion, he smoothly slids over the mid-tempo production with charming boasts using Waffles’ name. Shakes and Les, frequent collaborators with the ‘Piano princess, couldn’t be a more perfect pairing with Pitch for the celebration of her charismatic personality.

MaWhoo’s rich vocals fight for space amidst the pleasant cacophony of instruments on “Khumbula.” The jazzy undertones smoothly glaze the blend of sounds, allowing Msolo’s honeyed croons to form an enticing ballad of melodies that further amplify the track’s celebratory nature. The project’s penultimate track, “Khula,” presents a smoother blend of percussive elements that aptly represent the chirpier atmosphere of the extended play. The repetitive lyrics also give enough room for a lush soundscape created by the kalimba and piano progressions to flourish. ‘SOLACE’ wraps up in a bittersweet moment with its titular track in a captivating mix of guitar and piano chords. Reminiscent of smooth jazz records, “Solace” portrays a relaxed atmosphere with minimal lyrical backing to celebrate Ice Beats Slide’s proficiency in instruments. 

As the Amapiano genre continues to redefine the status quo, Uncle Waffles is navigating the industry not just as a newcomer but as one of the youngest women competing for a share of attention against powerhouses such as DJ Maphorisa, Kabza De Small, Major League DJz and more. More importantly, Uncle Waffles is changing the rules of the game and playing on her own terms, as she widens the potency of her arsenal with animated DJ sets and experimental music that brings other emerging artists to the fore. Waffles has proven that DJs no longer have to be one-dimensional, embracing her vulnerability and assertive storytelling to empower other African women just like her.

There’s no denying that Uncle Waffles is someone we will continue to keep close tabs on. Her desire to redefine the status quo, push the envelope on the spaces reserved for women, as she navigates the industry with the vim of a newcomer and the confidence of a veteran, is admirable. Uncle Waffles is a sonic, human manifestation of the popular saying, “Amapiano is the lifestyle” and continues to reaffirm herself as a powerhouse capable of global domination.  ‘SOLACE’  adds another string to her bow, as she pretty much continues to go warp-speed on her abilities, making music that is thematically bound to introspection and constantly evaluating personal truths.

Listen to Uncle Waffles’ ‘SOLACE’ here. 


ICYMI: ESSENTIALS: UNCLE WAFFLES WLECOMES A NEW CHAPTER WITH ‘ASYLUM’

TurnTable Top 100: Asake’s “Lonely At The Top” Makes Chart History

Posted on by The Native

Asake’s hit single, “Lonely At The Top,” has record a new win. This week, on the TurnTable Top 100, the track records another week at No.1, becoming the third-longest running No.1 in the history of the singles chart. It follows Omah Lay’s “Godly” and Joeboy’s “Sip (Alcohol)” as the only tracks to achieve this feat. “Lonely At The Top” also recorded 3.22 million on-demand streams and 86.6 million in radio reach.

Burna Boy’s track “City Boys” has made significant gains, climbing to the second position on the Top 100 chart. It has garnered an impressive 2.08 million on-demand streams and received 44.4 million radio airplay impressions, making it a strong contender against ‘Lonely At The Top.’ Crayon & Ayra Starr’s “Ngozi” is making waves at No.3 with 1.36 million on-demand streams and 58.6 million in radio reach, surpassing Crayon’s previous No.5 hit, “Ijo (Laba Laba).”

Meanwhile, Khaid’s “Anabella” is back at No.4 and Omah Lay’s former 3-week No.1 slips to No.5. Burna Boy continues to dominate with Seyi vibez-assisted “Giza” at No.6, making it his second entry this week from his recently released album, ‘I Told Them’ “Big 7” comes in right behind at No.7 and Young Jonn’s “Sharpally” rises to No.8. Adekunle Gold’s “Ogaranya” dips to No.9 while Shallipopi’s “Obapluto” makes a third-time appearance in the top ten at No.10.

Outside the top 10, Qing Madi & BNXN’s “Ole” and “Like Ice Spice” by Blaqbonez continue to hold steady momentum with “Ole” now charting at No.14 and “Like Ice Spice” coming right behind it at No.15. Pheelz and Young Jonn’s “Jelo” standing relatively strong, debuting at No.17. 

[Featured Image Credits/The NATIVE]

NATIVE Exclusive: Araloyin Oshunremi Is Just Getting Started

Posted on by Nwanneamaka Igwe

Araloyin Oshunremi is the man of the moment. After two wondrous seasons playing Stefan, the younger brother to a notorious drug dealer Jamie, (Michael Ward), the British-Nigerian actor returns to our screens for the third and final season of Netflix’s ‘Top Boy,’ this time, fuelled by revenge and a renewed vitality. Oshunremi, who portrays a young adolescent named Stefan is the latest 19-year-old wunderkind to captivate audiences around the globe.

Born in Hackney to Nigerian parents, a young Oshunremi made his debut on the screen at just 15 years-old when the streaming giant, Netflix picked up the London-helmed show and renewed it after the show’s initial debut in 2011 with ‘Top Boy: Summerhouse.’ Despite his fairly elementary experience at the time, he was cast in the show without much ado after a fated meeting one with a casting director. “Watching movies like ‘Norbit’ or shows like ‘My Wife & Kids’ on television made me like acting. However, I only started acting in year seven or eight for drama class in school. That’s where it really took off and I later got street casted outside a barber shop as Stefan on Top Boy,” Araloyin tells the NATIVE.

After seeing young Black kids who looked like him onscreen, Araloyin was determined to get his foot in the door. These days, it’s not easy for new and emerging actors to get their voices heard or serve as cast member in huge blockbuster series, given the lack of access and clear paths to stardom. However, Oshunremi’s story isn’t like that of most young Black people: he’s carving lanes for himself, joining the likes of Caleb Mclaughlin and Elsa Majimbo who are not confined by the industry’s glass ceilings. As he tells it, he first got his big break after running into a casting agent for ‘Top Boy’ outside his barber’s shop.

As fate would have it, his final step of audition was with familiar Black British actors who knew and understood his worth. “The final process was a chemistry read with Michael [Ward] and Hope [Ikpoku]. The chemistry was there because I already knew them prior,” he shares candidly. After impressing the team of directors, Oshunremi was invited to set and found himself a natural fit for the gritty story set in London which explores the complexities of growing up in marginalised Black and ethnic minority neighbourhoods.  

Since that fated meeting, a lot has changed since Araloyin–in more ways than one. His character, Stefan is an unassuming young boy who lives with his brothers, following the death of his parents in their council town flat. When he initially came on board, the role of Stefan was a supporting character playing as Jamie’s young brother but as seasons went by and Summerhouse grew more dangerous, the harsh realities of life on the streets began to puncture the perfect bubble created by his older brother, Jamie.

Araloyin embodies this character because he has lived a similar life: a doting son and imperceptive to the pains of growing up. “I’d say there’s some aspects of me in Stef, like the scenes where we saw him quite moody in the second season. He was sometimes angry and withdrawn and that was similar to me, at that point, because I was going through puberty. I never really looked forward to doing work and school so that translated to the character I was playing,” he shares. 

More than just relating to the character, Araloyin also had to reach into very different parts of his emotions and psyche to communicate Stefan’s growing pains. He talks about listening to moody music and translating that to the set and having to get professional help to tap into difficult emotions. “Last season was quite moody and down so I came into the set listening to depressing music or sometimes I wouldn’t speak to my family before I left my house.” When it came to the happier scenes, Oshunremi would adopt the opposite tactic and hang out with friends to influence his mood on sets. 

 

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Oshunremi’s dedication to the craft is undeniable but becomes increasingly evident in his research process. “I like to ask people who have occupied positions like Stef’s in real life. It makes it all the more realistic. I like to do that so when you watch it, they can see I’ve taken their advice and it feels as natural as possible. Most of us haven’t been in the shoes of our characters so asking people goes a long way,” he adds.

As a young boy growing up in Hackney, Araloyin has lived at the intersection of so many different cultures including his Nigerian heritage and that of the Caribbean which represents modern British culture. In many ways, it further explains why ‘Top Boy’ has become a crowd favourite and why the platform was a perfect debut for the upcoming actor. The show delicately tackles the intricacies of underground drug trades amongst black people in East London with a refreshing and most importantly empathetic standpoint.

More than that, the Ronan Bennett production has pulled from the fabric of Black popular culture in a nuanced and refreshing way that allows audiences access its beauty within the right context. In conversation with Oshunremi, it’s difficult to separate him from his character because of how reflective it is for him. “I’m from a Nigerian household and being a Nigerian in Hackney, you tend to absorb other different cultures. There’s a lot of Caribbean culture. So growing up in Hackney, it was quite diverse. The music, I even listened to was diverse but a typical Sunday morning would have my mum playing gospel music while everyone’s cleaning the house,” he shares.

Araloyin is not confined by the roles ascribed to Black boys like him. Instead, he’s making ground as one of the youngest actors on other Netflix productions such as ‘Heartstopper,’ lending his formidably dynamic skills on the show’s 2022 debut. “‘Heartstopper’ is generally more bubbly and energetic but ‘Top Boy’ is not as friendly. Otis is generally nicer and more open to meeting new people. Stefan, on the other hand, has quite hostile energy as can see from the scene he’s entering the room with his brother’s gun.” Despite the differences in both characters, Oshunremi is always looking to best his next effort: 

“I always tell my agent before that I want to audition for certain types of roles as opposed to just anything that falls on my lap. Any audition I go into, I want the role to be a challenging one. I also want the storyline to be really great.”

Now, audiences around the world are witnessing not only the growth of Stefan in the new season of ‘Top Boy’ but also Oshunremi’s own personal evolution. In the new season, we see Stefan become hardened by the community around him and the lengths people must go to stay alive on the streets. While Aaron, played by Hope Ikpoku, has chosen to focus on his studies, Stef traverses a different path in an attempt to grapple with the death of his brother and make sense of his feelings.

He seeks comfort in his brothers’ friends and a new love interest to find solace but ultimately, it only fuels his hate for his brother’s killer when he begins to seek revenge. “A major touchpoint of this season is decision making. We see a lot of characters make decisions that could either lead to a negative or positive outcome. The consequences of a wrong decision usually result in a death but more well-intended decisions result in positive outcomes,” Araloyin explains. For Araloyin’s Stef, he’s always been faced with decisions of this nature due to his background. Earlier in season one, he recalls losing his close friend and confidant, Ats, who got caught up in the drug business. The key difference is that Stefan no longer has the moral compass from his older brothers and must find out truths for himself.

Oshunremi shares “The Stef you meet steps into Jamie’s shoes to sort of respect his death. We see him put on Jamie’s chain and try to become him in some aspects. He starts to hangout with Jamie’s friends whereas he wasn’t doing that before. He’s trying to continue his brother’s legacy. He also adopts Jamie’s gun. So, little things like that; he holds on to to keep his brother’s memory alive. He also kept the picture of him and his brothers so his sentimental side is still something we get this season.” 

 

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Given the show’s heavy themes, it’s important that Araloyin has a great network around him ready to boost his talent and help him further his skills, from his well-oiled team to his family. “My family is very supportive in the sense that we never really talk about the show. They don’t ask how work was. As soon as I’m home, work is behind me and they make sure I’m happy and doing some family activities. My family and friends are my getaway from that character. Having good people around you is definitely the key to that.” 

Outside of Stefan, Araloyin is looking to expand his skills this year both on and off the screen. He admits that he’s looking for more roles with depth and emotion that allow him to communicate human complexities on screen. “Stefan’s been a nice character to play but I’d also like to dive deeper into the romantic side of filmmaking. We see Stef this season explore a love interest so playing a romcom would be good. I’d also like to play a black influential figure like Malcom X. If you’ve seen Judah and the Black Messiah, a character in one of those productions would be good,” he shares.

Araloyin’s final moments portraying Stef are understandably bitter-sweet. We witnessed a steady build-up across six episodes where he is faced with the choice of avenging his brother’s killer or maintaining his innocence. “You’re not even worth it,” he chants in the season’s final moments before choosing to walk away from his first potential kill. It’s a harrowing moment where audiences realise that Stefan’s evolution is complete: he’s survived the war with the scars to prove it. 

What’s next for Oshunremi? He has his sights set on Hollywood and expanding into bigger productions in America. The pivot from British television to Hollywood isn’t uncommon and Araloyin threads the path of actors before him such as Kedar Williams-Stirling who featured on ‘Sex Education,’ ushering in a new generation of talent spotlighting Black stories.

‘Top Boy’ isn’t the end of Araloyin, he’s just getting started: “I have a feature film coming out next year and I would maybe like to explore some roles in American settings.” [Featured Image Credits/The NATIVE]

How Kwesi Arthur’s Feature On ‘Top Boy’ Emboldens His Storytelling Ethos

Posted on by Emmanuel Esomnofu

After twelve years depicting the unassuming realities of the Black British experience, ‘Top Boy’ has reached its season finale. In art; it’s never truly final, after all, since the experiences have been committed to a form whose very existence is to preserve the ethereal beauty of mankind’s creation. For the great films that have been released over the years, the feeling of watching its closing scenes has held the miracle of instant and yet gradual transcendence. 

The best way of giving viewers that sure feeling of rush, or melancholy, or any other desired feeling, comes then from the music that’s being scored atop the action. ‘Top Boy’ has gripping tones to heighten its tension, but it’s used urban, new school music as the times go, most often digging into the golden wells of Black music in modern Britain, which sprawls the genres of Hip-Hop, Grime, Bashment, Afrobeats and several others. With the immigrant experience also deeply tied to the history of Black people in the country, as several Africans and Caribbeans have sought greener pastures across different eras starting from the seventh century, the series also nods to these influences through its music. 

Emerging as one of the most important musical voices on the new, last season of ‘Top Boy’ is Kwesi Arthur, whose song “Winning” can be heard on the new season. It’s a thrilling fifteen seconds, soaked in the Twi-inflected bravado of Kwesi, an artist who occupies a singular space amidst the giants of contemporary Ghanaian music. Since the turn of the 2000s, the genre HipLife emerged as the most popular form of Ghanaian expression, a colourful blend of Hip-Hop and Highlife sensibilities; the former recognisably the younger sound, for melodic timeliness it turned to the guitar-streaked Highlife, whose modern techniques had first evolved in that same land more than fifty years before. 

Unlike Black Sherif whose adaptation of the sound is pointed and wizened, Kwesi wields his Ghanaian expressions close to him, rather utilising rap as his primary medium through the variant stages of his career. It is for this reason he’s an early charter of the cross-continental seas, become familiar among diasporan audiences as early as the mid 2010s. Thus the showing on ‘Top Boy’ is a natural extension of an artistic relationship that began years before for Kwesi Arthur, before he sung himself into modern TV history or created the song that would. 

Consider a record like “Ade Akye,” the opener from 2017’s ‘Live From Nkrumah Krom’ EP. Over a production which switches to incorporate more hardcore Hip-Hop zest, he raps about where he’s coming from with the inimitable focus that’s become his brand. A watchful eye kept out on the street, the bars were realistic in its depiction of Ghana while establishing the ethos for Arthur: flying past the limitations of his physical location. It’s thus telling “Free” was the song which follows: with brighter loops, an Highlife bounce, it’s a lesser-stakes song, but lines like “Make I find my way oh” was indicative of Kwesi Arthur’s desire to grow, and when music consciously plots a way out of the dicey situations of its creator, its appeal would be outsized because there’s a larger story lurking behind its skeletal form. 

One of Kwesi Arthur’s biggest early hits was “Grind Day,” which also appears on the aforementioned project. Anthemic without losing Kwesi’s soulfulness, boisterous without centering shallow pride, it was testament to Kwesi’s long standing belief that whoever works diligently should revel in the fruits of their labour. Even if not immediately, then imminently, since life was supposed to be a give and take situation. That’s what makes his music so fitting for film; those are the exact same stakes captured in cinema; the weight of what’s given and the levity of what is received, their energies clashing against each other. 

Kwesi Arthur’s rap skills continued to be heralded in the following year, most especially in records like “8PM in Tema” and “The Anthem”. While the former was unavoidably Drake-esque (he made the city postcard record famous, after all), the latter had a more Western bounce, with Kwesi flexing his melody-laden flow over the glossy production. “Can’t fuck with your man dem, talk too much; me no like dem,” he sings on the opening line, revealing, in language and sensibility, the supposedly wise introspective demeanor that’s springing up as truth across Black dominated young circles, from Accra to Port-Harcourt to Stratham and Kingston. Everyone’s advised to move carefully, especially when one has dreams of Kwesi-sized proportions. 

To his credit, Kwesi Arthur embodied that aesthetic, not only in his music but also, and most crucially, through his personality. He wasn’t one to be found in the ugly controversy, twisting in the mud waters of frail egos and distorted celebrity images. Everything Kwesi did was premeditated, timed with the precise viciousness of a hunter chasing game. “Woara” was an early showcase of his Highlife sensibilities, and for the rest of 2018 he continued those popular plains, as heard on the KiDi-featured “Don’t Keep Me Waiting”, the Dancehall-inflected “Porpi,” which then served as a fine precursor to “African Girl,” his last single of the year which featured Shatta Wale. 

On the first day of 2019, the artist released ‘This Is Not the Tape, Sorry 4 the Wait’, a short project which totalled just over eight minutes. Coming at a time when his early listeners were missing the rap side to him, he felt compelled to remind them the artist they fell in love with hadn’t changed. As the tape revealed, Kwesi Arthur hadn’t stopped framing intensely personal concerns within the prism of the community, creating songs that anyone could relate to. “Live or Die” and “Don’t Keep Me Waiting Part II” were demonstrative of this quality, existing on varying ends of the sonic spectrum, but unified through their vulnerability, while Kwesi rapped with the weight of responsibilities that came with being heralded as a voice of the young in his hometown. 

By this time, Kwesi Arthur was viewed as a hero of some sorts, in the striking way that superstars like Sarkodie and Shatta Wale before him hadn’t. The artist who was closest to the communal relevance that he had was Stonebwoy, whose Bhim Nation was considered a sort of community for young Ghanaians who share the positive values of the Dancehall veteran. On the other end of 2020, the artist released the second edition of the ‘Sorry 4 The Wait’ series, but before then there were a slew of afro-inspired releases which included “Why (Nana Ama)”, “Revolution Sound”, and “Nkwasiasem,” all of which possessing distinct sounds, from the mellow R&B sound to the dusty rap production, and then the azonto-inflected Ghanaian pop sound, showcasing for a fine stretch, why Kwesi Arthur would come to be heralded internationally. 

2021 was the year which solidified Kwesi Arthur’s iconic status. Around that time, the new vision of Hip-Hop which was permeating semi-urban areas of Ghana was getting acclaim and being championed by indie lovers across the world. In no time, the Drill style known as asakaa was a genuine sensation for young global audiences, and among its more popular purveyors was a teenager known as Yaw Tog. With the menacing groove of his record “Sore” tearing through the continent, and with remixes better received for their potential to uplift an artist’s international standing, it came as a pleasant surprise at the start of that year when Stormzy appeared on the remix of the song, alongside Kwesi Arthur, who was the conduit between Yaw Tog’s Ghanaian origins and his international ambitions, which the British rapper signified. 

Together, all three rappers incinerated the booming production, and even amidst the varying perspectives of his co-star, that of Kwesi Arthur was evidently striking. After all, he’s been speaking the truth to social realities since he emerged on the scene, and has ostensibly mastered his language. The song which appears on ‘Top Boy’ was released that same year, a demonstration of Kwesi’s expanding reach into pockets of diasporic affiliations. It’s fitting that he featured Vic Mensa, a rapper whose Ghanaian roots have been a centrepiece of his artistic journey in recent years. Along with his friend and fellow American artist Chance The Rapper, both acts have been eager to connect with the history of the West African Country. Collaborating with an artist like Kwesi Arthur opens up the possibility for a sonic relationship that goes beyond the music to touch on the actual lives of the Ghanaian youth, which Kwesi Arthur, more than any other artist of his generation, has championed. 

Since 2019, the African music soundscape has been in consistent relationship with audiences outside the continent. It goes as near as ODUMODUBLVCK creating music with UK rappers, and as far as Rema hosting a tour across India. Wherever there are shared aspects of cultural existence, there’s a musician looking forward to tightening his links and positioning themselves there. For all his introspection, Kwesi Arthur has moved with that intentionality, and it’s a great sign that he is reaping the dividends of careful placement. 

When the artist released the ‘Live from Nkrumah Krom Vol II’, his perspective had changed; in place of the zeal to dominate is the bleary-eyed exhaustion of someone who’s seen it all. “I just wanna be alone, writing my songs,” he sings on “Pray For Me”. With collaborations like Cruel Santino (“Kill My Spirit”) and Nasty C (“Walk”), the artist was aligning with other young auteurs pushing their respective genres, but the resultant music was unmistakably Kwesi in execution, bubbling with the overtones he’s had all career long. 

“As Africans we got a story to tell,” said Kwesi to NATIVE Mag when he released his debut album ‘Son of Jacob’ last year. Its title inspired by the Hebrew connotations in his culture, its release was delayed, first by the pandemic, and later by the death of his grandma, whose voice also features on the project. Telling a story—this has been the ethos of Kwesi Arthur for as long as he’s been into art, writing poetry or singing in the choir. As he says, “There are so many sides of the story that still need to be heard; our perspective is needed.” 

ICYMI: WITH ‘SON OF JACOB’, KWESI ARTHUR IS AIMING FOR THE NEXT LEVEL

Everything we know about the earthquake in Morocco—and how to help its survivors

Posted on by Dennis Ade Peter

Last Friday, a strong earthquake hit Morocco, resulting in the death of over 2,000 people and the displacement of millions. At past 11pm local time, the 6.8 magnitude earthquake tore through homes and buildings, its epicentre located in the High Atlas mountain range. According to reports, the worst hit area is the al-Haouz province, where rubble has made it difficult for rescue workers to reach several villages in the community.

In addition to the strong magnitude, the United States Geological Survey (USGS) has stated that the earthquake occurred at a relatively shallow depth of 18.5km, worsening the impact of the tremor. According to the USGS, earthquakes of this magnitude are uncommon in the region, but not unexpected, noting that nine quakes with a magnitude of 5 or higher have hit the region since 1900, and none of them have had a higher magnitude than 6. This earthquake is the deadliest that has hit Morocco since a 2004 tremor hit near al-Hoceima, leading to the death of more than 600 people.

While this earthquake impacted the southern part of Morocco, it was felt in the capital city Rabat, 350km north of the epicentre. Marrakech, Morocco’s fourth largest city, was severely rocked by the tremor. Back in 1985, the old city known as Medina became a UNESCO Heritage Site, and consistently attracted tourists for its mediaeval mosques, palaces and seminaries richly adorned with vivid mosaic tiling amid a labyrinth of rose-hued alleyways. The extent of the damage is still inconclusive, but according to reports, more than 300,000 people have been affected by the earthquake and several historic sites have been badly damaged.

Eyewitnesses in the foothills of the mountains have stated that some towns are completely destroyed. Rescue workers have been deployed to the affected regions, with some roads to the more remote areas damaged or blocked by debris. King Mohammed VI of Morocco has ordered the set up of a relief commission to distribute aid to survivors. He also declared three days of national mourning and ordered mosques nationwide to hold funeral prayers at noon on Sunday for those who died in the disaster.

There has been an outpouring of condolences from governments around the world, with Spain, France, Britain, Turkey, China and more countries sending monetary aid and/or rescue assistance. Even Algeria, which severed diplomatic ties with Morocco in 2021, has reopened its airspace for aid material and medical assistance. For concerned individuals looking to help, here are several suggestions:

Donate to charitable and global relief organisations

There are several local organisations who will be catering to the needs of survivors and victims of the earthquake, including the Amal Women’s Centre, Moroccan Red Crescent Society and Banque Alimentaire du Maroc (Moroccan Food Bank). Mohammed VI has also ordered Bank Al-Maghrib, the country’s central bank, to set-up a bank account for strictly relief funds—details here. You can also donate to global relief organisations like UNICEF, Doctors without Borders, World Central Kitchen, and CARE.

Raise Awareness

You can share this news post or any other related information about the earthquake on your social media accounts. It might reach someone interested in donating.

UNDER SPOTLIGHT: HOW RHITA NATTAH CHANNELS THE PERSONAL & POLITICAL

For The Girls: Xenia Manasseh Is A Polished Creator On New Album, ‘LOVE / HATE Pt. 1’

Posted on by Uzoma Ihejirika

In 2019, Xenia Manasseh arrived on the Kenyan music scene with “Niambie,” a Swahili-and-English-delivered syrupy R&B song of love and commitment. Although she was born and raised in Nairobi, Xenia had just returned to her home country after years spent at the Berklee College of Music in Boston, Massachusetts and as a signed songwriter at a music label in Atlanta, Georgia, where she had written the song in 2018. Before releasing “Niambie,” Xenia feared whether it would be well received by the Kenyan listeners. She didn’t need to worry; the song got instant acceptance.

“It blew my mind,”  Xenia tells the NATIVE. “I couldn’t believe it because I felt like people were going to tell me ‘Ah, this girl is just trying to bend. She’s just trying to bend this Swahili thing, like she’s still not really doing the local thing…she’s not really in the space of the music that we’re used to,’ but it just blended my influences and when I say the way it was received, I don’t mean even just at home, a lot of people in the US tell me that that’s their favourite song of mine.” 

That incident solidified Xenia’s belief in her craft. She decided to become an artist and do so on her terms, without fear and with confidence. Xenia’s sky-high confidence has spurred her through many singles and two EPs—2019’s ‘Fallin’ Apart’ and 2022’s ‘Maybe’ with Ukweli. Four years later, “Niambie” is part of the tracklist of Xenia’s debut album ‘LOVE / HATE Pt. 1,’ which features Karun, Tay Iwar, Shalom Dubas and Xenia’s grandfather Edgar Manasseh. It is a project that traverses the places Xenia has lived in or visited: Nairobi, Atlanta, Los Angeles and Lagos.

“I feel like I’ve always been where I’m supposed to be when I’m supposed to be there. I think I’ve always been in the right place at the right time,” Xenia says about her commitment to music. “It has never felt like there’s been a struggle or a push and pull like one place is calling me and I’m in another place. I felt like that when I had just gone back home from the US because I was in such a rush to come back, but I slowly settled into being home and I was like, ‘Oh yeah, this is actually where I needed to be to start and actually commit to being an artist’.”

Home, whether as a geographical or an emotional concept, is the livewire of ‘LOVE / HATE Pt. 1.’  As a child, Xenia grew up listening to the vast musical collection owned by her grandfather (who she calls Babu)—an eclectic mix including old-school traditional songs, instrumental albums, Brenda Fassie’s music, Norah Jones’ music, E-Sir’s music and Nameless’ music. At Berklee, she focused on entrepreneurship under Music Business/Management, and after relocating to Atlanta in 2018, she honed her songwriter skills with multiple producers. Xenia’s emotional state of mind is also her greatest asset. It is where the magic stems from, where she sieves both joyful and troubling experiences for musical gems. 

On the title track of Xenia’s album, she describes the tumultuous moments in a relationship full of highs and lows and those moments impact her views on companionship. “When I wrote ‘Love/Hate,’ I felt like it was the one song that described the range of emotions that I had written about [on the album],” she says. The song represents a time in Xenia’s life when she wasn’t willing to uphold boundaries because she felt love was a necessity superseded right or wrong. “I can admit that it’s toxic but it’s so good when it’s good, I don’t want to let go, I don’t want to be the one that ends things even though I’m aware that this isn’t healthy. And of course, I’ve grown from that, and I’m grateful for that experience because it helped me translate that into music.”

The cheery moments on ‘LOVE / HATE Pt. 1’ are bright and sparkly. On “Late Night Check Up” with Shalom Dubas, Xenia sought inspiration from the mushy feelings she had felt during a past relationship where her lover lived in a different timezone and would check up on her at night while it was morning where they were. She and Dubas had linked up when she came to Nigeria for the AFRIMA Awards. “Southwards,” with its croons of “Let me love you right/Oh/Baby,” had initially been written for another artist before Xenia’s manager shared the song with Tay Iwar when he was in Nairobi for a show.

“A lot of this project has been emotional [as regards the] features because it’s really somebody else coming into your space, bringing in their own experience and helping you finish a story that you started,” Xenia says, “and when it feels right, it’s just emotional.” On “G.I’s Intro,” Xenia’s Babu had sent her a voice recording of him singing “Zilizopendwa,” a Kenyan traditional classic Xenia had listened to and loved as a child. “I was like, ‘Wow, I have no idea what made you wake up and do this,’ and it was such a clean recording as well. And I immediately knew that I wanted it to be on my album.” Xenia considers the track as a way of affirming her Kenyan culture and immortalising her beloved grandfather.

The producers of ‘LOVE / HATE Pt. 1’ also have a special place in Xenia’s heart. MOMBRU, for instance, had worked with Xenia on ‘Fallin’ Apart’; on the album, he single-handedly produced “Southwards,” “Lowkey” and “Niambie,” and co-produced “Temporary Love” with Adrian Forbes and “Love/Hate” with Lambirth. Mbongua Mbongua Mbongua is the only Kenyan producer on the album and has known Xenia for the longest time. AVB (on “Late Night Check Up” with LNK), Cee B (on “Anticipate” with Stoopid Lou) and Sangria (on “Soul Lovers” with AVB) were producers Xenia first met during her time with the label in Atlanta, which had signed them too. Joshua Choo and Troy Bourgeois (on “Cheza Chini,” which Xenia also produced) had been schoolmates with Xenia at Berklee and bonded over the times they realised they were in the same class and never spoke to one another.

“I’m really happy to know that everybody that’s on this project are the people that I started my journey with,” says Xenia. “[From] the producers on the label…and just carrying that through to now and all of them having the patience. When I look at the tracklist and I just see their names, I’m like ‘This is everybody that’s been there from the beginning.’ It just makes sense. So It was meant to be.”

While ‘LOVE / HATE Pt. 1’  Xenia’s current masterpiece is emotional purging, there was no easy ride in making the album. She had to fight off feelings of fear and shame just so she could tap fully into her experiences in their purest, most honest forms. When she returned to Kenya from the US, she suffered writer’s block for six months. She had a space and equipment to record but the words refused to come forth. “I just sat down and I was like ‘Okay, how do we feel? How do we feel because I know how I feel but why am I avoiding talking about this? What exactly would be the problem with me doing this?’” she remembers. Finally, she wrote a song and it unlocked the well within her. “Every day back to back, I was just like, ‘Okay. Let’s just let go of all these feelings. Just let go.’ And I just kept letting go and I’ve never had writer’s block ever since; it’s never come back at all. 

“It became very clear to me that the only way that I can do this is if I’m always honest with myself, and not being honest with myself would cause a block. And I feel like that’s not even just in music, that’s just in life. You’d always get stuck unless you’re able to confront what’s actually happening. Take accountability, reflect, have that internal dialogue – not judge yourself for choices that you’ve made but see your experiences as experiences.”

‘LOVE / HATE Pt. 1’ is the first instalment in the series, with a second one bound to drop anytime soon. The album is four years in the making and has changed Xenia’s perspectives on love and life. It has allowed her to “explore all these different emotions that come and go” and emerge as a refined and mature woman with new ideas and an appreciation for every facet of life.

“I hope [people] get to take away what I got to take away from listening…that they don’t feel like they’re alone,” Xenia says. “[The album is] just for people to know that it’s okay to be vulnerable and to confront how they feel and see that there’s a lot of beauty that can come out of that. For me, [this album has] created so much beauty internally for me; my internal world is so much more peaceful just because I have spent so much time talking to myself.”

ICYMI: XENIA MANASSEH BREAKS DOWN HER DEBUT ALBUM, ‘LOVE/HATE, PT. 1’

Featured image credits/NATIVE

The Erasure Of Women In Afropop

Posted on by Nwanneamaka Igwe

In sports, a team or individual is typically awarded a medal, trophy or some sort of physical emblem to represent the success they’ve achieved from playing the game. In music, award season is the equivalent of this emblem, and it serves to confirm to artists and their audience that they are the best players on the field.

Earlier this month, Nigeria’s premiere awarding body, The Headies, held its second edition abroad at the Cobb Centre in Atlanta. In a groundbreaking year for African music littered with grand, weighty strides made by our homegrown talent, The Headies should have been an extra special moment for the culture’s evolution and the efforts made in recent years to cement Afropop as a global phenomenon. Since its inception in 2006, the industry’s biggest night faced the all too familiar issues of low production quality. This year’s edition added a glaring lack of regard for the women in the music industry under their belt.  

 

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Out of the 25 categories billed to be announced on the night, only 12 main categories were announced including Next Rated, Best Male Artist and Rookie of the Year. All of these were male-centred categories with winners like Asake, Rema and ODUMODUBLVCK, leaving out six major categories which were won by their female counterparts. Rather than earn similar glory as male artists and producers of the same ilk, women such as Ayra Starr, Tiwa Savage, Waje, Simi, Libianca, had to earn their stripes from a congratulatory post on The Headies Instagram account. It’s alarming that on a night as important as this for Afropop, women were missing out on the glory despite their invaluable contributions to the genre’s sonic fabric over the decades. This year, The Headies made dubious history by deciding to snub women, omitting to properly celebrate the full scope and spectrum of music coming out of the country. 

This glaring omission is indicative of a larger problem in the industry and by extent, society at large. Women have to work twice as hard to get the music heard, garner an audience and maintain this audience through their career span and life changes. Working against an industry where prejudice and structural limitations exist, it’s rare to find a woman who is able to crack the code and win the love and attention of audiences. Instead, only a few spots are reserved for a select few to occupy, where they are pitted against each other and constantly beat down by warring fans. Despite these odds, Afropop women are not backing down from getting their voices heard and conveying important messages. 

Following the recently concluded show last Sunday, pop star Ayra Starr, who was up for two awards including Best Female Artist and Afrobeats Single of the Year, announced in a statement on X that she would never be grateful for winning a category that wasn’t deemed to be announced on stage.  At this year’s show, there was not a single woman who graced the stage to receive an award, neither did any perform unlike their male counterparts. Throughout the show, major categories featuring women nominees were excluded from the show’s runtime and awarded online and backstage. Among these categories were Songwriter of the Year, Best Female Vocal Performance and Best Female Artist of which the recipients were Simi, Waje and Ayra Starr respectively. 

The omission becomes more glaring, considering only four women emerged victorious in an award show with 25 categories. While the absence of these women-led categories on the stage might be chucked up to poor timing or organisation from the producers, it gives way to a larger problem. Women are systemically underrepresented despite their achievements and contributes to fostering an ecosystem where a lack of female visibility is the order of the day. Considering the astounding influence women have in enabling Afropop to become a global phenomenon, such attempts to shadow their influence are impermissible.

Take Ayra Starr for example, an inescapable force since her debut on the scene in 2021. For the sake of this conversation, a recollection of her impact and deserving accolades will hinge on the past year alone. The Mavins signee released a follow-up to her chart-topping debut album, ‘19 and Dangerous,’ in the form of a deluxe album with five new tracks. One of these featured iconic Destiny Child singer and superstar, Kelly Rowland, for a euphonious remix of her memorable single, “Bloody Samaritan” and her smooth Dancehall melody, “Rush.” Beyond expanding the scope of her instantly recognisable sound, Ayra has proven to be a highly sought-after collaborator, lending her vocals for peerless contributions on projects by Wizkid, CKay, Zinoleesky and UK-rapper, Stormzy. Ayra Starr has, in only two short years, successfully stripped away the performative respectability politics expected from the industry newcomers, armed with self-affirming bangers spearheading the new generation of contemporary Pop music. 

Anyone with their ears to the ground has witnessed the global superstar consistently push the envelope and surpass all previously set expectations in more ways than one. The world, as well as the organisers of the Headies cannot ignore this hence why she was awarded the Best Female Artist. However, her award was not deemed worthy of on-air recognition when her label mate, Rema, was granted several minutes to express his gratitude for winning the Best Male Artist. In his speech, Rema shared his sentiments pertaining to incessant support of our institutions like The Headies, “It’s very important that I let everyone know that I am not here because of the awards. I am here because it is important to support our institutions. When I say institutions, I mean the bodies that support you to be able to achieve these major successes.”

While this perspective comes with a lot of merit, it is difficult to support an institution that takes every opportunity to sideline the impact of women in the industry. The acts of indiscretion are buried deep in the fabric of what is supposed to be the biggest celebration of Nigerian music. Looking back at the nominees of the Album of the Year category since 2006, 7 out of 62 nominations belong to women and only 2 in 16 winners were women. Similar stats fall in other categories and as a result, women often only emerge victorious in categories dedicated to them. 

“Best female artist na beans? We work hard, every single one of us! I’ve seen Tiwa record 4 hit songs in the same night, Tems breathes and lives for music. We didn’t deserve such nonchalance! Nigeria , you didn’t raise me to settle for less,” shared the Mavin starlet in her post on social media, which has now racked up over 2.9million views. Despite her very public outburst, neither the Headies nor its executive producer, Ayo Animashaun has commented on the statement and the show’s lack of visibility for women performers. 2008 Headies Album of the Year winner, Asa, shared in an interview with CNN “In Nigeria I have to fight (for my) gender. I was very aware of my femininity, so when I went into studios, I had to wear baggy clothing, because I didn’t want to accentuate the fact that I was female,” she said, speaking on the early stages of her career. “I didn’t want to bring attention to myself, I wanted to go there and do the job.” With several years passed and many albums under Asa’s belt, the degrees of inequality in Nigeria’s music space are still just as rampant. 

Given the system that rewards on merit and merit alone, music is a mirror reflecting and often magnifying larger cultural and societal failings. It only takes one quick look at the top percent of artists today to realise that popular music often fails to recognise the contributions of women. By March 2022, Billboard music reported that only 21.8% were women. “This number has been stagnant for a decade, with women representing 21.8% of artists across ten years and 1,000 songs on this chart,” the report shared. When the lens is narrowed down to these parts, we’re sure that within the Nigerian music industry, these numbers are even lower, within the different areas of the ecosystem from DJs and producers to songwriters and rappers.

The glass ceiling for women is constantly shifting and obscured as they make their way to the totem of their powers. Since the late ‘90s to early noughties, it has always been the case where only one woman can win at the same time, ascribing only one main position for female artists to operate within. As such, other female artists were pitted against each other with varying sides arguing about their sartorial choices or their tenors. Nowadays, there’s seemingly more room for women to get their voices heard. Thanks to platforms such as YouTube, Twitter, SoundCloud, and Instagram, women can tap into their audiences directly and find measurable success. However, now that there are more women operating in the scene, it’s easy (through incidents like what happened at The Headies) why this erasure on a prestigious award night is harmful and downright wrong. They ignore their valuable contributions as evidenced from the dearth of women to perform at shows, and little to no visibility for their craft. 

According to its Afrobeats-dedicated website, the total number of hours male artists have streamed on Spotify is about four times more than that of female artists. It’s cold, hard numerical evidence of a hegemony that continues till date, even with the consistently increasing number of women making great music. Beyond the consumption pattern, the myriad of issues female artists have to face behind the scenes is sometimes obscured by music industry jargon like branding and funding, but real ones know that it’s just plain ol’ misogyny.

Women only come into play to become a recurrent punchline for lyrics and a chance for men to express their sense of entitlement over women’s bodies, choices and lives. This comes at an expense to women, but men in an attempt to drive their machismo and score points, present women as objects of their desire. We could go as far back as Fela’s “Lady,” an open condemnation of women’s liberation in a patriarchal society or “Cough (Odo),” by Kizz Daniel, who at this point is a serial offender. He expressly stated being entitled to a woman’s body after doing her some favours, a follow-up from his brazenly inappropriate and outright misogynistic lyrics for his previous hit songs, “Yeba” and “Fvck You.” These songs, in their typical fashion, show men reinforcing the power they have over women financially and physically, while fixating solely on what the woman ‘should’ provide in return- usually something sexual. That is, when they aren’t the subject of explicit music videos or serving as the butt of misogynist jokes. Meanwhile, women continue to hold crucial responsibilities in the background, puppeteering the operations with impeccable supporting vocals and ghost writing.  

Whether or not audiences and industry key players choose to acknowledge, Afropop is producing new female stars. The younger generation of women have spent years refining their craft and putting out genre-redefining music as a means of expression and empowerment for women, as well as an act of rebellion. Through the music of young women such as Brazy, Ugoccie, Ictooicy, Bloody Civilian, SGaWD, DEELA, Qing Madi, Ebun Yele, Lifesize Teddy, Morravey, Liya, Somadina and many more, other young Nigerian women can hear and feel their emotions, truths and feelings soundtracked in real time, showing us that they can make music in their own right and in their own way, solely for expanding the sound of Afropop and disrupting what the world has come to know of the genre. It’s about time we recognise these unrivalled forces for their copious footprint in African music. 

[Featured Image Credits/The NATIVE]

Additional words by Tami Makinde and Damilola Animashaun.

ICYMI: FIVE TAKEAWAYS FROM THE 16TH HEADIES AWARDS

New Music Friday: Projects From Balloranking, Oladapo & More

Posted on by Emmanuel Esomnofu

It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the weet’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. We’ve compiled a typically spellbinding list today, a vast terrain in the African music soundscape covered. In addition to new projects from Patoranking and Majeed, here are four more projects that deserve your ears.

OLADAPO – ‘IN CASE I NEVER LOVE AGAIN’ 

Stunning over the years with his R&B-influenced sound, Oladapo has released a new album today. The poetic framing of its title gives the listener what to expect: a collection of ten songs which deal with aspects of everyday life, delivered through an intimate prism of acoustics and warm percussions. Oladapo knows how to create tender songs and he hates it all on this vulnerable, searing body of work. 

BALLORANKING – ‘GHETTO GOSPEL’ 

The conversation about spiritualism in afropop is incomplete without Balloranking. Since making his entry into mainstream Lagos some half-decade ago, the artist has consistently honed his sound. What’s audible now is his brazen vocals unfurling the most realistic portraits of young life in the big city, one famously streaked with danger and the trappings of lust. ‘Ghetto Gospel’ is his debut album and features the likes of Bella Shmurda, 1Da Banton, Dablixx Oshaa and others. 

E.L – ‘THE TEACHER’ 

Ghanaian artist E.L has consistently maintained and renewed his vision of Hip-Hop over the years. Quirky, but able to unfurl punchlines over colourful beats, it’s a blend he’s mastered. That skill set availed him as one of the pioneers of the azonto sound. On his new EP ‘The Teacher’, the rapper performs spellbindingly, creating songs that never fails to entertain the listener. 

KAH-LO – ‘PLEASURE/PAIN’ 

Nigerian artist Kah-Lo has pushed a futuristic, inventive vision of her Dance sound over the years. Offering a quirky prism through which her investigations of self and femininity shines through, her name has entered discussions about contemporary artists deliberate in their presentation. On her anticipated debut ‘Pleasure/Pain’, she conjures a thrilling set list which keeps the listener entranced through its more than thirty minutes runtime. 

Our First Impressions Of Patoranking’s ‘World Best’

Posted on by The Native

Since his debut on the scene, Patoranking has proven to be a chameleonic mastermind armed with party hits like “Suh Different” and Wande Coal “My Woman, My Everything.” But since his 2020 third album installation of ‘Three‘—a distinct reggae-influenced project where he discussed his experiences with life and love— audiences have only perceived the Afropop star in single and feature capacities. He continues to prove, despite the sparse presence, that he hasn’t kept his hands off the pulse.

Just as his previous albums have emphasised, Patoranking’s music serves a melting pot of various genres including Reggae, Pop, Afrobeat and most recently house-influenced tunes. His recent album, ‘WORLD BEST,’ sees Patoranking back and better to reiterate this same message. Stacked with Caribbean influences, Patoranking evidently sets out to bridge a gap between cultures on the new 15-tracker and successfully achieves this feat.

The singer ultimately merges both worlds with a uniquely contemporary style tied together by distinct Dancehall and Afropop sensibilities. Through the album’s runtime, he enlists the help of worldwide superstars turned friends such as Victory, Popcaan, Diamond Platnumz and Gyakie for fresh, unrivalled verses on the seamless body of work. 

In typical fashion, we share our thoughts on the album, from best song to stand out production, biggest potential hit, biggest skip and more. Lock in!

 

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BEST SONG 

Sien: I’ll have to go with ‘‘Babylon”. The Victony factor combined with the guitar chords get you in a mood that’s nearly indescribable.

Israel: “Kolo Kolo” is definitely a personal favourite, it has all the hallmarks of a stellar Patoranking number with a well delivered verse from Diamond Platnumz which completely takes the track over the top. 

FAVOURITE PRODUCTION

Emmanuel: Each beat on ‘World Best’ is well actualised and this comes from Patoranking working with the most talented producers out there. However I’m leaning very heavily towards “Smoke & Vibes”, which reminds me of my beloved Ajegunle, which is also Patoranking’s beloved. With sweet guitar licks, there’s a quintessential Highlife feel that melds perfectly with the slowed percussions, making it an ear treat. 

Chigoziri: Although “Abobi” is a track we’ve heard before, I still stand by it as my favourite production. The lyrics tell a story that the artist perfectly delivers in sync with the timeless saxophone and drums that remind me of Fela Kuti’s songs.

BIGGEST POTENTIAL HIT 

Dimeji: “Babylon” is probably going to be the biggest hit. Vict0ny is always on point with his features and it’s easy to hear the chemistry they shared on the track. The song has the potential to be really big, the beat adds to that too because it really gets you moving.

Alex: The tracks on the album are going to be hits, but I’m leaning towards “Babylon” featuring Vict0ny becoming the biggest hit on the album. On that track, the duo displayed an excellent vocal synergy, and the beats had me moving from the intro.  “Higher” has the potential to be big too. Fingers crossed. 

BEST VERSE

Daniel A: Fire burn Babylon! For me Patoranking’s second verse on ‘Babylon’ really hit for me. He says ‘Leader, lion, yes I be idolo – fight and face my fears no ojoro’ referring to being strong and going to challenges without fear and coming out triumphant. 

Dennis: I really like the first verse of “Abobi,” because of the granular, very human detail that set-up the song’s socially conscious tilt. For me, that’s when Patoraking is at his best, reflecting the lives of everyday people rather than the agitprop of a song like “Heal the World.” At the same time, it’s the lead single for ‘World Best’ and I’ve listened to it more than a few times, so there’s a familiarity. Of the newer material, I think I’ll go with Popcaan’s guest appearance on “Tonight,” where he just glides over a beat that’s quintessentially Nigerian even with its dancehall thump.

BIGGEST SKIP 

Moore: Of all the songs on the project, “Smoking & Vibes” is the one I’d be most likely to skip. While still a solid song, it becomes very repetitive in a way that makes it feel unnecessary to listen past the first ten seconds.

Daniel B: I didn’t truly resonate with “Inshallah”; the drill beat felt quite out of place compared to what I would typically expect from Patoranking. It seemed like he was attempting to incorporate new sounds into his repertoire, but I don’t believe it worked very effectively.

STANDOUT FEATURE 

Uzoma: For me, it’s Victony on “Babylon.” That brother has a voice that conveys so many emotions. His verses—short and punchy—tell very relatable stories about his come-up in the industry. Patoranking, too, does his best on the track but it’s Victony that owns it. It was a collaboration I didn’t envisage but I enjoyed.

Nwanneamaka: Victony killed his verses on “Babylon.” The production is very inline with Victony’s soundscape and I imagine this was one of those scenarios where a song was recorded with a particular artist in mind. The twinkling keys are very Victony-esque and allowing his verse to introduce the track was the best decision. They glide in and out of the track so smoothly, their chemistry is not something I’d have fathomed on my own but it works really well. 

OVERALL FIRST IMPRESSION 

Dimeji: It’s easy to see the vision Patoranking had for this album. He projected it perfectly, and it shows because ‘World Best’  is a really solid body of work. The entire album had me dancing around my room, and the replay value will have me giving it repeated listens soon enough.

Emmanuel: ‘World Best’ is Patoranking’s magnum opus. Every aspect of his artistry blooms beautifully here, and he rarely makes a misstep. The features are in-sync with his vision and each record has something to say. It’s the artist’s fourth project and the ease with the form is better seen, and for that he should get all the credit, especially with the high expectations he set with the choice of title. 

Chigoziri: I’ve always been a fan of Patoranking’s artistry and music style. ‘World Best’  lives up to its title as it emphasises his ability to work with different cultures and genres effortlessly. 

Listen to ‘World Best’ here.

[Featured Image Credits/The NATIVE]

Essentials: Majeeed Offers Poignant Reflections On ‘Cheers To Life’

Posted on by Emmanuel Esomnofu

Around the same time a new vanguard of superstars were breaking into the Afropop scene, an unassuming Majeeed crept up. He wasn’t immediately championed like some of his peers, but his sound—a vivid reinterpretation of 2000s-sounding Nigerian Pop—left a good impression on those who listened. “Gee For Life” was a focused rendering of his skills, his vocal style reminiscent of Kizz Daniel though the writing was undeniably his, simple but strikingly evocative as he mused about his loyalty to a girl he loved. 

Majeeed continued in that fine form, scoring an underground classic with the realism of “Time.” It was a record in the class of Oxlade’s “Ojoro” and Victony’s “Kolomental,” an early career song which laid down the artist’s preoccupations. For Majeeed, he was more driven by external stories, revealing his own perspective through the telling of others’ experiences. His debut EP ‘Bitter Sweet’ arrived in early 2022, and as one hears on songs like “How I Care” and “Yawa No Dey End”, he was extending that range both in subject and sound.

Coming into the new year, it was evident that Majeeed was on the cusp of a breakout. That arrived unanimously on the Tiwa Savage-assisted “Gbese,” whichbintroduced the sterling Majeeed to a wider fanbase. Since then the artist has moved with the purposefulness required to solidify his ubiquity, and his latest project, the positively-titled ‘Cheers to Life’ comes from that consideration. It’s the same title which supplies the opening record, a glittering piece where Majeeed’s stirring vocals emerge. Soft with its drums, sexy in its movement, the record doubles as an account of his better quality of life but the first verse describes getting ready for a night out. 

Every narrative of Majeeed is threaded by the didactic twist of his pen. On that emotive opener, it comes with the lyric, “Instead make you live your life, you sit down there dey complain,” he sings with jazzy carefreeness while the production builds around him. “Girls Deserve More Money” would make him a popular man among the ladies; promising to avail the good life to his lover, it adapts the kind of songwriting primed for an internet-savvy audience base. You could almost imagine a TikTok run behind the chorus, but on the song level, Majeeed’s evocative qualities are yet present, which is further amplified by the dreamy electronic loops in its post-chorus parts. 

“Stop Nonsense” is the only other record in this collection of eight where Majeeed appears alone. It’s also the most popular-lying record, with splashes of smooth vocals and brash drum playing which shuffles between Amapiano and House. A groovy, anthemic number, it demonstrates Majeeed’s range across ‘Cheers To Life.’ Understandably however, the collaborative records offer more to the listener. Given the svelte, malleable quality of Majeeed’s tone, he’s able to blend in with a host of voices, and that artistic ability elevates the project.

 

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The similar hue of BNXN’s tone comes present on “Waka Jeje,” which stands a good chance of being one of the project standouts. Over celestial amapiano-influenced arrangement, both artists muse about coming from where they’ve done, the journey not lost on them. “Thank God say man no look like wetin e don go through,” sings Majeeed on the opening lyric, following up with why more hustle is needed to consolidate on one’s spot in life. BNXN’s lazer-sharp delivery is finely utilised, and he’s one of the EP’s best features, in terms of potency matching up to Tiwa Savage’s superb work on “Gbese”. 

While that record is familiar enough to Afropop audiences, there’s the attempt to further its reach by creating an EDM remix. The mix doesn’t come across as deliberate enough, somehow losing the song’s essential soulfulness. That quality is however present on “Slip & Slide,” where Majeeed and the American artist of Nigerian descent Rotimi layer sweet affirmations over the warm palmwine-evoking production. Produced by Priime, it mirrors the work he’s done for Wizkid, and the sexy vulnerability associated with the veteran is present here, even more because of Rotimi, who provides a distinct but reliable perspective for Majeeed’s delivery to feed off. “Shayo” is a personal favourite of the collection; fusing the distinct writing skills of Majeeed and his guest Lojay, who’s never been known to flunk a feature—it’s a hit song in the waiting.

Crowd vocals are in sync with the guitar-led production, slightly evoking Highlife and which works given the genre’s dedication to alcohol-fuelled communal spaces. It’s the kind of song that gives cheers to life, because even in the midst of all the complexities of relationships and experiences, we’ll always find ourselves loving its thrill. Majeeed’s project is a colourful demonstration of his unique prowess, and if there’s anyone who thinks he’s resting on his laurels, then they haven’t heard this. There’s clearly a lot of journeys embedded within the young man, and his music seems to possess the grace necessary to see them through.

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